Interplay Of Voices Research Articles

USE AND TEACHING OF SEO, VOICE AND TONE GUIEDLIENES:

This qualitative, case-study research analyses workplace English (WE) to determine how the interplay of voice and tone guidelines and search engine optimizations (SEO) guidelines shapes the use of English in marketing content of an IT companies, as well as how much English teaching at the IT company caters to the needs of WE users in that respect. The research is based on two main resources: 1) a corpus of approximately 40 blogs and 100 website news articles which were compiled into a corpus in their draft, reviewed and post-SEO versions and 2) learning materials used in English classes for, allegedly, improving WE, including voice, style and SEO skills. The research was conducted in two phases. First, the revisions and edits in the corpus were identified and mapped to voice, tone, style and SEO guidelines, in order to see if edits do indeed target these aspects of WE use. Secondly, the teaching materials were analyzed to identify how they were crafted to address the main issues identified in the use of WE in respect of tone, voice and, in particular, SEO. This approach is based on the rules of qualitative research in public relations and marketing communication (Daymon & Holloway, 2010). The research shows that, in addition to struggling with voice and tone guidelines, employees also have trouble meeting the SEO guidelines, which may all be due to suboptimal WE teaching and learning materials which put too much emphasis on fine details of English usage, but not on the specialized requirements of IT companies in terms of voice, tone, style and SEO. The research also provides guidelines for improving WE teaching practice in terms of style, voice and, crucially, SEO requirements.

The Local and the Vocal. Tracing Vocality in Early 18th Century Print Media

The article outlines the entanglements of vocal, scriptural and print media practices in early 18th century Switzerland. It builds upon a close reading of media coverage of the 1712 Toggenburg war preserved in the Zurich central library (Zentralbibliothek Zürich). By tracing the vocality of early modern media culture in song pamphlets, ballad broadsheets and printed dialogues reflecting on contemporary events it argues that vocal media practices were not only literally inscribed in early modern prints but were also crucial for the dissemination of news and opinions. Essentially, the intermediality of the early modern public sphere appears as fundamentally characterized by the interplay of voices, texts and performance.

Linguistic Varieties in Homegoing: Translating the Other’s Voice into Spanish

The objective of this paper is to study the Spanish translation of Yaa Gyasi’s Homegoing (2016), a novel that adopts the form of a neo-slave narrative to chronicle a black family’s history from eighteenth-century Ghana to the early twenty-first century in the United States. The contexts in which both the source and target text were published will be described, paying attention to paratexts, to the book’s reception, and to the translation’s positive reviews. Gyasi’s debut oeuvre depicts alterity and the non-standard linguistic varieties, such as Black English, spoken by the dispossessed Other. This paper examines the strategies that the translator, Maia Figueroa (2017), has made use of to render this interplay of voices into Spanish. In addition, it considers how her choice to standardize some fragments and to introduce marked non-standard language in certain passages affects the reflection of the narrative Us vs. Otherness in the target text.

Community and Solitude: New Essays on Johnson’s Circle, ed. Anthony W. Lee.

<i>Community and Solitude: New Essays on Johnson’s Circle</i>, ed. Anthony W. Lee.

“Much Might Be Said on Both Sides”

Sir Roger de Coverley, representative of the landed gentry in The Spectator, is typically read as a lovable, old-fashioned eccentric and comic object. Closer attention to the series of essays set in and around Sir Roger’s Worcestershire estate — especially numbers 117, 122, and 130 — reveals that the baronet’s work as a justice of the peace stimulates Mr. Spectator’s moral development. Sir Roger’s intimate relationships with his inferiors and his quasi-familial approach to problem-solving challenge Mr. Spectator’s worldview, allowing Addison and Steele to express their ideas through an interplay of voices. Mr. Spectator’s evolving first-person perspective, animated by the loose, ad hoc structures of the justice’s work, where determining the beginning and ending of a legal action is often difficult, clarifies Sir Roger’s exemplary functions in the text. This essay argues that The Spectator functions as a provocative inquiry into ideology rather than a vehicle for Whiggish politics through a narrative point of view that responds to the characters and settings it encounters, most significantly the figure of the country magistrate. The Spectator’s adoption of the magistrate’s structures of judgment elucidates the role of the rural justice of the peace in eighteenth-century English society and law.

Voices in between: Cultural interchange in dynamic psychotherapy

Psychoanalytic Practice can be understood in the Discursive Genre, in which the dialogical language represents the psychotherapeutic practice. The utterances of the patient and the therapist can be conzeptualized as a system of “inner” and “outer” voices, which represent transference. In relation to the dialogical self framework of Hubert Hermans which focuses on the interplay of voices and I-positions we concentrate here on the borders of “inner” and “outer” voice systems of DS through a look at transference and countertransference processes, well known from the psychoanalytic theories of Sigmund Freud. Three levels of operation of the DS are analyzed—conscious, preconscious, and unconscious. Voices operating at preconscious and unconscious levels lead to an understanding of consciousness through therapy considered through the DS framework. Understanding the importance of unconscious and preconscious “inner” and “outer” voices might be one leading step into direction of consciousness by passing decisions of dominance, ambivalence, and development in psychotherapy to offer high levels of self-reflection on patients and their mental health.

Writing Process After Reading Bakhtin

This article focuses on the process of writing where the purpose is to explore how it is possible to write a research account that is inviting and “alive” so that, in reading, novelty unfolds. The account includes an illustration of how I struggled with writing and eventually found a way forward in reading Bakhtin’s work on the polyphonic novel. Inspiration from this genre opened up a kind of “listening writing”: an embodied and prospective form of writing that questions the traditional role of plot, because it calls for a letting go of predesigned structures. Instead, it suggests a writing driven by the interplay of voices, curiosity, and openness to the next possible word. The article contributes to the discussion on how writing matters and, in particular, how “unfinalizable” writing practices, in which the author tries not to be the final mediator of meaning, can enrich organization studies.

Revisiting the Instrumentality of Voice: Having Voice in the Process Makes People Think They Will Get What They Want

Research on procedural justice has found that processes that allow people voice (i.e., input) are perceived as fairer, and thus elicit more positive reactions, than processes that do not allow people voice. Original theorizing attributed these effects to beliefs that the provision of voice enhances people’s sense of process control, which people were assumed to value because it impacts their perceived likelihood of receiving desired outcomes (the instrumental perspective of procedural justice). Subsequent research questioned this perspective, arguing that outcome expectations do not account for the effects of voice. However, this subsequent research failed to directly examine the interplay of voice, outcome expectations, and reactions. The current studies revisit and extend research on this topic by asking whether manipulations of voice act as shared circumstance effects. Confirming an untested implication of the instrumental perspective, we show that giving everyone voice increases their belief, ex-ante, that they are likely to win an upcoming competition. However, this instrumental belief accounts for only part of the effects of voice on perceived procedural fairness and on general reactions to outcomes. Results suggest that voice does indeed have instrumental significance, an implication not adequately recognized in current justice theorizing. However, this instrumentality does not, by itself, explain why people value having a voice in processes that affect them.

Indirect reports as language games

In this chapter I deal with indirect reports in terms of language games. I try to make connections between the theory of language games and the theory of indirect reports, in the light of the issue of clues and cues. Indirect reports are based on an interplay of voices. The voice of the reporter must allow hearers to ‘reconstruct’ the voice of the reported speaker. Ideally, it must be possible to separate the reporter’s voice from that of the reported speaker. When we analyze the language game of indirect reporting, we ideally want to establish which parts belong to the primary voice (the reported speaker’s voice) and which parts belong to the reporter’s voice. In this paper I apply considerations on language games by Dascal et al. (1996) and I explore the dialectics between abstract pragmatics principles and considerations about situated uses that are sensitive to cues and clues.

La poesia nell’ultima età: intersezioni di voci nei Giambi di Callimaco

Cet article explore l’utilisation de la poésie iambique archaïque dans les Iambes de Callimaque. En tant qu’iambographe, le poète hellénistique se place en dehors de la sphère de la haute poésie dont il relève en général et sa nouvelle et « légère » écriture iambique s’engage dans une confrontation avec les adversaires à la fois personnels et littéraires de Callimaque.

Exploring creative thinking in graphically mediated synchronous dialogues

This paper reports on an aspect of the EC funded Argunaut project which researched and developed awareness tools for moderators of online dialogues. In this study we report on an investigation into the nature of creative thinking in online dialogues and whether or not this creative thinking can be coded for and recognized automatically such that moderators can be alerted when creative thinking is occurring or when it has not occurred after a period of time. We outline a dialogic theory of creativity, as the emergence of new perspectives from the interplay of voices, and the testing of this theory using a range of methods including a coding scheme which combined coding for creative thinking with more established codes for critical thinking, artificial intelligence pattern-matching techniques to see if our codes could be read automatically from maps and ‘key event recall’ interviews to explore the experience of participants. Our findings are that: (1) the emergence of new perspectives in a graphical dialogue map can be recognized by our coding scheme supported by a machine pattern-matching algorithm in a way that can be used to provide awareness indicators for moderators; (2) that the trigger events leading to the emergence of new perspectives in the online dialogues studied were most commonly disagreements and (3) the spatial representation of messages in a graphically mediated synchronous dialogue environment such as Digalo may offer more affordance for creativity than the much more common scrolling text chat environments. All these findings support the usefulness of our new account of creativity in online dialogues based on dialogic theory and demonstrate that this account can be operationalised through machine coding in a way that can be turned into alerts for moderators.

The voice as transcursive inscriber: The relation of body and instrument understood through the workings of a machine

This article examines the relationship of the body with a musical instrument; specifically it looks at the vital threshold conditions that occur during the interplay of voice and instrument. By examining the work ‘IKAS’ (1982) for solo saxophone by German composer Hans-Joachim Hespos, the unusual timbral relationships created between vocal and instrumental sounds are exposed. I argue that this particular work highlights the performer/instrument relation as one marked by Gilles Deleuze's notion of the workings of a machine and a machine's relation to a ‘flow’, in particular a machine's function with view to the break in the flow. By turning towards Deleuze's concept of the machine, this article offers a slightly different vocabulary for music analysis, one that more easily encompasses certain works of the twentieth century, specifically those that are more timbre- than pitch-based.

The Authoring of Institutional Practices: Discourse and Modes of Participation of Subjects

In this text I consider authoring as a historically instituted and instituting social practice. The concept of author(ship)—as a social function concerning the action and identification of specific subjects in institutional places—is discussed in relation to authority (power position) and authorization ((dis)empowering position). I highlight Foucault’s and Bakhtin’s most relevant theoretical contributions to the issue, inquiring about the concrete possibilities and conditions of such practice. Within the scope of an empirical research developed with a group of students in a Brazilian public school, attention is drawn to the graduation ceremony as a commonplace within the school scenario. I focus my analyses on discursive practices, highlighting two speeches uttered at the ceremony as particular instances of authorship, and relate them to two students’ informal talk. The analyses point to the interplay of voices and positions in an intricate web of interpersonal relationships interwoven with/in and marked by the institutional loci.

Mathematics education in culturally diverse classrooms

. Monologism is associated with a formalist perspective on social interaction, with communication seen as a kind of exchange that takes place between individuals. Dialogism, by contrast, is practice-oriented, and sees communication as an ongoing process of negotiation between people and contexts (see Linell 1998, p. 6-8). The roots of dialogism can be traced back to Bakhtin (e.g. 1986), for whom meaning emerged from the interplay of voices. Alro and Skovsmose (2002) apply the distinction between monologism and dialogism to different perspectives on learning. For example, they associate monologism with Piaget’s learning theory, by which they mean:

In other words: breaking the monologue in Whitman, Williams and Hughes

One important aspect of the ‘Whitman tradition’ in American poetry is its breaking of the monologic hegemony of the lyric voice. Focusing on this aspect necessarily assumes that a poem establishes a ‘fictional context of utterance’, particularly a ‘complex or shifting discourse situation … [which]may involve variations in deictic centre’ (Semino, 1995: 145). The resulting dialogic interplay of voices stands at the very centre of Walt Whitman’s poem ‘Out of the Cradle Endlessly Rocking’, William Carlos Williams’s ‘The Desert Music’ and Langston Hughes’s ‘Cultural Exchange’. The present discussion of dialogic interplay in the lyric text turns naturally to Bakhtin’s concept of heteroglossia. Making use of the cline of speech presentation developed by Leech and Short (1981), Bakhtin’s categories of ‘compositional-stylistic unities’ will be elaborated upon: direct authorial literary-artistic narration; the stylistically individualized speech of characters; and incorporated genres. In ‘Out of the Cradle Endlessly Rocking’ there is an interplay of voices between boy, bird and sea, within a narrative frame related by the adult and child lyric speakers. Within the more general conversation in ‘The Desert Music’ there is an interplay of the lyric speaker’s own social and poetic selves, while in ‘Cultural Exchange’ dialogic interplay is highlighted in the use Hughes makes of the ‘intimidating margins of silence’ (Culler, 1975: 161) which conventionally surround a lyric text, filling them with musical notations that comment on the lyric voice.

“Melodic totality” and textural form in Edgard Varèse's intégrales: Aspects of modified tradition in early new music

Edgard Varèse's Intégrales exemplify a complex and characteristic strategy of the composer, who uses textural constellations with a motivic function and creates his “melodic totality” out of a new kind of dynamic interplay of voices. Instead of following the idea of organized vertical sound complexes, the author argues for a polylinear reading of Varèse's score — or at least for a method which intermediates between the vertical and horizontal reading. The traditional nature of motivic and polyphonic thinking, and above all the functional organization of textural elements and constellative sections, makes the author consider the composer of Intégrales as a kind of traditionalist, who combines tendencies of sonata form and variation form. The generative “motivic” principle of melodic, constellative, and formal structures constitutes the dialectics of “activity” and “stagnation”.

An Interplay of Voices: The Polyphonic Experience of Exploration

An Interplay of Voices: The Polyphonic Experience of Exploration

Joyce, Bakhtin, and popular literature: chronicles of disorder

The sheer mass of allusion to popular literature in the writings of James Joyce is daunting. Using theories developed by Russian critic Mikhail Bakhtin, R. B. Kershner analyzes how Joyce made use of popular literature in such early works as Stephen Hero , Dubliners , A Portrait of an Artist as a Young Man , and Exiles . Kershner also examines Joyce's use of rhetoric, the relationship between narrator and protagonist, and the interplay of voices, whether personal, literary, or subliterary, in Joyce's writing. In pointing out the prolific allusions in Joyce to newspapers, children's books, popular novels, and even pornography, Kershner shows how each of these contributes to the structures of consciousness of Joyce's various characters, all of whom write and rewrite themselves in terms of the texts they read in their youth. He also investigates the intertextual role of many popular books to which Joyce alludes in his writings and letters, or which he owned -- some well known, others now obscure. Kershner presents Joyce as a writer with a high degrees of social consciousness, whose writings highlight the conflicting ideologies of the Irish bourgeoisie. In exploring the social dimension of Joyce's writing, he calls upon such important contemporary thinkers as Jameston, Althusser, Barthes, and Lacan in addition to Bakhtin. Joyce's literary response to his historical situation was not polemical, Kershner argues, but, in Bakhtin's terms, dialogical: his writings represent an unremitting dialogue with the discordant but powerful voices of his day, many inaudible to us now. Joyce, Bakhtin, and Popular Literature places Joyce within the social and intellectual context of his time. Through stylistic, social, and ideological analysis, Kersner gives us a fuller grasp of the the complexity of Joyce's earlier writings.

Letters From Honeyhill: A Woman’s View of Homesteading, 1914–1931 by Cecelia Hennel Hendricks

Reviews 183 Willa Cather: A Pictorial Memoir. Photographs by Lucia Woods and others, text by Bernice Slote. (Lincoln: University of Nebraska Press, 1986. 134 pages, $27.95.) Willa Cather: A Pictorial Memoir (published in 1972 and since 1980 available only at rare book prices) has been reissued by the University of Nebraska Press (1986). It consists of two parts, the first devoted to Willa Cather and providing biographical photographs and text; the second devoted to Willa Cather’sAmerica, providing photographs depicting the places Cather wrote about, with accompanying quotations from her texts. While the book deserves notice because it presents materials introducing Cather’s life and art, it has also been hailed as “a perfect book of its kind,” receiving three national awards for excellence because of what is done with those materials—for its fidelity to principles basic to Cather’s art. In her essay, “Light on Adobe Walls,” Cather wrote that an artist cannot paint sunlight, or “even relations of light and shade—he can only paint some emotion they give him, some man-made arrangement of them that happens to give him personal delight . . . .” It is a principle that Bernice Slote and Lucia Woods honored in Willa Cather: A Pictorial Memoir by rejecting attempts at literal translations in favor of offering their “re-productions” (the word is Cather’s). As a result, by drawing upon a lifetime’s study, Bernice Slote in her text provides her encounter with Cather’s art, a microcosm of all readers’experience of it. Similarly, photographs by Woods and others provide not attempts to transcribe the fiction literally, but a photographer’sexpression in her own medium of emotions evoked by Cather’s fiction. “Bone Gulley,” for example, is faithful to the emotion in O Pioneers! of the land as a wild thing that had its own moods; and “Quebec Seminary” conveys a senseof quiet security that is true to the pleasure one feels in reading Shadows on the Rock. This is, then, a book about the union of life and art in an interplay of voices—those of persons from Cather’s life and of characters from her fiction, joined by those of an eminent Cather scholar and, speaking through her photographs, a distinguished photographer. Willa Cather:A Pictorial Memoir is both an introduction to Cather’s art and art in its own right, and its reissue iswelcome indeed. SUSAN J. ROSOWSKI University of Nebraska, Lincoln Letters From Honeyhill: A Woman’s View of Homesteading, 1914-1931. By Cecelia Hennel Hendricks. (Boulder, Colorado: A Bristlecone Book/Pruitt Publishing, 1986. 704 pages, $22.95.) In 1914, Cecilia Hennel left her teaching career at the University of Indiana to marry John Hendricks, who had taken up a homestead in the Shoshone Valley in northwestern Wyoming to raise clover and honey bees. 184 Western American Literature Together they built up the successful Honeyhill Farm. Friends said Cecilia was wasting her education to become a farmer’s wife. She answered them saying, “They were wrong. I needed that education and I used it every day of my life!” Her letters to her family form a detailed document of life on the Wyoming frontier, dealing with food production and preservation, with sick­ ness, death, birth and failed dreams. They depict women’s efforts to bring beauty, grace and comfort into their homes and community. “I’ll be a writer someday,” Cecilia said. These letters were written with the intention that they be preserved in lieu of a journal. Cecilia wrote in a straightforward and objective manner. Except for a few love letters and poems, she wrote obliquely about herself in order to camouflage her feelings, and to detach herself from intimacy. Her autobiographical intention was pow­ ered by the motive to convince readers of her self-worth and to authenticate her self-image as she learned to cope. Thus Cecilia’sletters are autobiography, as defined by Estelle Jelinek in her study of the genre, Women’s Autobiog­ raphy. Though this narrative is comprised of selective letters, reading becomes tedious because the correspondents remain names rather than becoming char­ acters. The letters lack both introspection and romanticizing of events. There­ fore, their greatest value is their detailed record...