Angry Voices Research Articles

Political Theory and Political Education

PHILOSOPHERS AND POLITICAL THEORISTS have become increasingly involved in public policymaking over the past two decades in liberal democratic societies.! However, the consequences of their work are still hard to gauge. Instead of trying to determine how particular policy choices have been influenced by philosophical arguments, I want to suggest another way of thinking about the practical importance of this work using the concept of political education. I argue that we should read their theories as forms of political education that mediate trust in expert authority. More specifically, these theoretical interventions can be criticized for domesticating the sometimes proud and often angry voices of citizens in these neocorporatist democracies who have occupied the position of other in a politics of expert policy-making. Liberal democratic theory has made it possible for the other to be seen but barely heard.2

The angry voice: its effects on the experience of anger and cardiovascular reactivity.

The results of two studies show that expressive vocal behavior, specifically, speech rate and loudness, influences the experience of anger and cardiovascular reactivity. In both studies, participants spoke about anger-arousing and neutral events using three different voice styles: fast and loud, slow and soft, and normal (personal rate and loudness level). In describing the anger-arousing events, both male and female participants reported feeling significantly more angry and showed significantly greater blood pressure and heart rate reactivity in the fast-loud compared with the normal speaking condition. They also reported feeling significantly less angry and showed significantly lower blood pressure reactivity in the slow-soft compared with the normal voice condition. For males only, the voice manipulation also had significant effects on the participants' anger self-ratings and cardiovascular responses during the neutral communications, but these effects were clearly weaker and less pervasive than those occurring during the angry communications. The results are discussed in terms of their implications for (1) the role of expressive vocal behavior in emotions, and (2) the modification of coronary-prone behavior.

Knowers, Knowing, Known: Feminist Theory and Claims of Truth

paper. 1 For general arguments against an excessive philosophical preoccupation with epistemology, see Jacques Derrida, Dissemination (Chicago: University of Chicago Press, 1981); John Gunnell, Between Philosophy and Politics (Amherst: University of Massachusetts Press, 1986); Mark Krupnick, ed., Displacement (Bloomington: University of Indiana Press, 1983); Paul Kress, "Against Epistemology," Journal of Politics 41, no. 2 (May 1979): 526-42. For specific arguments against foundationalism, see Richard Rorty, Philosophy and the Mirror of Nature (Princeton, N.J.: Princeton University Press, 1979); Richard Bernstein, Beyond Objectivism and Relativism (Philadelphia: University of Pennsylvania Press, 1983); Don Herzog, Without Foundations: Justification in Political Theory (Ithaca, N.Y.: Cornell University Press, 1985). It is worth noting the irony that even those most intent on repudiating epistemology on the grounds that traditional epistemological concerns involve claims altogether beyond the possibilities for human knowledge are themselves advancing epistemological claims.

Fox on the Run

'Preparing for the Hunt" 'You'll catch that old fox, won't you?' The old hound, Jubal, growled a soft warning as the two boys bent to peer back into the darkness under the porch floor. "Hush, Jubal,"Jason Cox said softly. "It's just me and Hank." Jubal relaxed, and permitted a formal petting. "He's big," whispered Hank. "Scratch him benind the ears," grinned Jason. "Old mean Jube will turn into a big puppy." Hank hesitated, stared at the wide, scarred head, yellowed fangs, and huge paws, then nervously reached out. Jubal moaned happily. Told you," laughed Jason. "You keep on scratching old Jubal while I find King." He lookedback under the floor. "Where are you, dog?" The young black and tan hound lazily thumped his tail and lay flat, his nose between huge paws. "Come here, King," ordered Jason. King yawned. "Come on, you old biscuit eater, Jason said happily. Get down here." When King finally, slowly, crawled to his feet and snook offthe dust, his heritage was evident. "He's even bigger than Jubal," whispered Hank. "Biggest, strongest, fastest, and ugliest foxhound in Creech County," Jason said proudly. "Jubal's his daddy, and he was in Queenie's last litter, two years ago." King yawned again and came closer to where Jason sat, then solemnly placed a big paw on the boy's shoulder. "Good boy, beamed Jason. He rubbed the hound's long ears. "King is my dog," Jason told Hank. "Daddy give me thepick of the litter, and I took King because he was the runt." "The runt?" Hank stared. "What happened ?" "Plenty ofbiscuits and gravy and eggs," grinned Jason. "King was a runt, but his feet was as big as mine. Old man Jessup, he always says the way to tell how big a pupis goingto grow istolook athispaws." King's feet must have been as big as watermelons," grinned Hank. "They was," smiled Jason. "Little watermelons. More like mushmelons." He petted the young dog. "Someday King will be better than Jubal, even." "You better not let your daddy hear you say that," warned Hank. "You know he thinks old Jube is the best they is." "Jubal is the best, for now," said Jason. "But you watch. Before winter's over, King will show 'em all. He just needs a little more practice." "Needs alot more foxhound and lot less pup, is what you ought to say," Carl Cox said stiffly. Jason spun to face his father. "You can't have a pet and a hunting dog all at once," continued Carl. "You baby that hound. Fox dogs has got a job to do. That one of yours, you've made him a sissy." King cringed at Carl's angry voice and snuggled closer to Jason. ' Watch him," Carl said dryly. "Jason, your foxhound ain't nothing but a oversized baby. His daddyisdownrightashamedofhim. Ain't you, Jubal?" Jubal's big eyes were fixed on Carl. "Ten years old, tough as whang leather, meaner ? a boar hog." Carl smiled smugly. "When I raise a foxhound, boy, I raise him to do hisjob. Not to set at the back door and beg for kitchen scraps." Hank sneaked his hands away from Jubal's ears. "I'mofamind," Carl said softly, "to say your dog can't run no more with Jubal. Jube's old, and he might get hisself hurt trying to take care of a pup that ain't got a lick of sense." He shrugged. "But, the only chance King has got, to learn anything , istoworkwithJubal." Carlgrinned. "Soon, too. I seen that big red fox this morning." "The same one?" Jason asked eagerly. Carlnodded. "Bigbushytail, thatrunny notch in his left hind footprint. It was him." "We chased that fox fortwo years now," Jason told Hank. "He's too smart to catch " "Too lucky," growled Carl. "Jubal has had him, two or three times, but he got away. Jumped over the side of a cliff, once, over to the ledge, and another time he went up a dead tree and got up in the rocks where Jube couldn't follow. We'll get him, though. Won't we, Jube?" Jubal's big eyes watched Carl...

The Dialectical Failure in Neruda's "Las furias y las penas"

Pablo Neruda's Third Residence (1935-45) marks a sharp break from the Second (193135), heralding radical content and diction. At the same time, this volume in the trilogy also speaks with the desperate, angry voices which dominate Parts I and II. Within this context of transition, Las furias y las penas is a model text: it combines resemblance in tone and imagery to Residencias I and II with Neruda's new social perspective. Thematically, Las furias y las penas bridges earlier and later works by means of its hellish vision of individual violence motivated by social decay. What Neruda had previously expressed in terms of personal alienation, he projects from the nadir of collective bankruptcy and the imminence of gratuitous holocaust. Viewed as a whole, Tercera residencia illustrates a fluid coherence of innovation with retrospective, creativity with continuity, that would characterize Neruda's entire development. 1

Living through the crisis: Some reflections on the current crisis in which South African Christians are living, in the light of the life and thought of Dietrich Bonheoffer

Are we in South Africa really living in a crisis? There are many in our land, our Prime Minister amongst them, who think not. After all, they say, we live today in inflationary times — not only money, but also word inflation. Everything is a crisis. Yesterday’s crisis, to adapt an adage, wraps today’s fish and chips. And, when we point to Soweto, they remind us that many people have very short memories. Yes — the Soweto riots rocked the country. But 16 years ago we experienced Sharpeville. The country was placed in a state of emergency ... hundreds, if not thousands of whites left our fair shores, convinced the end was indeed nigh ... foreign funds disappeared overnight ... the world raised loud and angry voices ... exiled leaders made appointments with the press “I’ll see you in Pretoria” they said “in a couple of years’ time”.

STRINDBERGS VREDE STEMME

STRINDBERG’S ANGRY VOICE | The article argues that the affect or emotion of a literary text could be regarded as a dimension of its voice and tone. ”Voice” is found on the level of the narrator, ”tone” on the level of the implied author. In cinematic metaphors the article proposes ”voice” to be analogous with the voice-over in film, and ”tone” to be analogous with the background music. The article develops its concept of textual voice from Horace Engdahl, and its concepts of affect, emotion and tone from Sianne Ngai. The literary text to be analysed is August Strindberg’s Le Plaidoyer d’un fou that is known as one of the texts in which he voices his monomaniac misogynist anger. The article tries to describe the quality of this angry voice through analysing structures of narration, genre, address, and style, discovering feverish volatility and paranoia to be its characteristics. The feverish volatility is shown to be linked to the shifting images of Woman that the text exposes. The paranoia is understood through Sianne Ngai’s definition of paranoia as an ”ugly feeling”, and jealous paranoia as connoting femininity. Thus the voice and tone of Strindberg’s text are discovered to be much more complex than simple misogynist aggression.

Angry Voices: Left-of-Center Politics in the New Deal Era

Angry Voices: Left-of-Center Politics in the New Deal Era

Angry Voices: Left-of-Center Politics in the New Deal Era

Journal Article Angry Voices: Left-of-Center Politics in the New Deal Era. By Donald R. McCoy. (Lawrence: University of Kansas Press, 1958. x + 224 pp. Notes, bibliography, and index. $4.00.) Get access Theodore Saloutos Theodore Saloutos University of California, Los Angeles Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 46, Issue 1, June 1959, Pages 161–162, https://doi.org/10.2307/1892424 Published: 01 June 1959

Angry Voices: Left-of-Center Politics in the New Deal Era.

Angry Voices: Left-of-Center Politics in the New Deal Era.