Notion Of Voice Research Articles

The dB in the .db: Vocaloid Software as Posthuman Instrument

This article presents an analysis of the Vocaloid voice synthesis software in order to explore what kind of instrument the synthetic voice is emerging to be. Vocaloid software exemplifies a database paradigm of cultural production analogous to that from which instrumental music has always drawn, but representative of a perspective on the voice as an increasingly malleable instrument. Furthermore, Vocaloid music production challenges notions of voice as revealing something essential about the body, resulting in works that subvert traditional expectations of bodies based on vocal pitch, and timbre.

Is it Possible to be a Bit Dialogical? Exploring How a Dialogical Perspective Might Contribute to a Psychiatrist's Practice in a Child and Adolescent Mental Health Setting

This article explores the potential relevance of dialogical ideas to psychiatric practice and asks: Is it possible to be a bit dialogical? A practice predicament is offered as a point of reference that is explored in light of the ideas presented. The notion of voice is used to introduce some ideas that inform dialogical approaches to clinical practice. Voice is then considered with respect to a medical setting, through examination of the biopsychosocial model, psychiatry's contract with society, the example of Open Dialogues, and Recovery. The conclusion acknowledges the possibility that tension is experienced between therapeutic ideals and contextual constraints. The original question may assist the clinician in defining a set of values that acknowledges this tension.

On His Terms, In My Words

This narrative is an exploration of the complicated relationship between my father and me as he battled cancer. It hopefully contributes to the field of qualitative inquiry at large, particularly in the domains of family, loss, and grief. This text shifts in time, tense, and voice. Part homage, part confession, it looks at the notion of voice from different angles.

Identity Manifestation in Second Language Writing through Notion of Voice: A Review of Literature

Voice, a discourse related notion, is a required criterion for writing acceptable English. However, L2 learners from cultures other than English might face problems in realizing it, or even ignore it all through their writing. In this connection, researchers seek to look at it through different angels. A well-known definition for it is given by Hyland (2008) as “the ways writers express their personal views, authoritativeness, and presence” (p.5). Also, researchers try to find the relationship between this notion and various aspects of writing like overall quality, identity manifestation and so on in order to improve the quality of writings produced by L2 writings. This is supposed to assist L2 writers to create more native like and smooth writings.

Political Justice, Schooling and Issues of Group Identity

This article explores issues associated with schooling and political justice. Such issues are understood in light of the contention surrounding howWestern schooling contexts might best represent marginalised groups—in ways that accord them a political voice. The significance of group identity politics is explored drawing on international debates associated with ethnically segregated schooling. A postcolonial theorising of group identity highlights the ways in which segregated schooling can both support and undermine politically just representation for marginalised students. This theorising draws attention to the problematic notion of voice in linking representation to identity in reductionist ways. The arguments presented point to the significance of people and their politics, rather than their membership to a particular identity group, in pursuing equity for marginalised groups. The article argues the imperative of understanding group identity as an aspect of negotiated social practice that can be drawn on in strategic and critical ways to address matters of political injustice.

Citizenship and scholarship in Emerson, Cavell and Foucault

This article explores the relationship between democracy, citizenship and scholarship through the notion of voice. The conception of voice in current policy operates governmentally, and shores up an identity ordered according to existing classifications and choices rather than destabilising it, and enabling critique. Rather than leading to an empowerment then the notion of voice, found in policy, research and practice, constitutes a depoliticisation of citizenship. The work of Ralph Waldo Emerson, Stanley Cavell and Michel Foucault is drawn upon here to explore an understanding of voice constituted in seeking a different way of accounting for ourselves, a different relation of the self to the self and others than is demanded by the current order. This is explored in relation to thought and scholarship as expressions of one's voice and thus of one's citizenship.

Dialogue and its Conditions: The Construction of European Citizenship

The Council of Europe's White Paper on Intercultural Dialogue provides an example of the way in which dialogue has become part of the current mode of governance in Europe. Throughout current policy, the terms ‘dialogue’ and ‘voice’ inform the introduction of practices and tools that constitute the citizen, or active learning citizen. Notions of voice and dialogue operate through educational and social practices today that are constitutive of a particular mode of subjectivation that renders the individual – through their freedom to speak, to participate and to be critical – governable. Current policy frames citizenship as a learning problem. In order to facilitate the development of competences for lifelong learning and active citizenship such policy seeks to establish ‘a common language’. The concern with seeking a common language in respect of education and of citizenship is taken up in the discussion in this article, which places the White Paper on Intercultural Dialogue into the context of current related European policy, and indicates how dialogue operates in the current mode of governmental subjectivation. Drawing on the work of Michel Foucault and Stanley Cavell, this article draws attention to the governance of dialogue itself – the inculcation of the individual in to a language of culture, citizenship and democracy that is depoliticised and which, it is argued, denies disagreement and conflict as central aspects of political life.

All powerful voice? The need to include “exit”, “loyalty” and “neglect” in empirical studies too

PurposeThe purpose of this paper is to set out and justify a broader, systemic typology that encompasses, and is built around, the notion of voice. This leads to the development of a number of insights that can result in the generation and testing of more accurate hypotheses on the links between voice mechanisms and workplace outcomes.Design/methodology/approachDrawing on different aspects of the concept of “power” and arguing that these are central to the notion of “voice”, the paper illustrates how “exit”, “loyalty” and “neglect” are also underpinned by power. A corollary of this is that these other concepts should routinely be included in studies of the links among voice and workplace outcomes.FindingsThe paper develops hypotheses that can enhance the understanding of the likely impact of voice policies on employees' attitudes and behaviour as well as on firm performance.Practical implicationsThe hypotheses suggest that, if employees perceive voice mechanisms in a negative way, they may respond in a variety of ways that can have a detrimental effect on firm performance. Understanding these different responses and the likely reasons for them can lead to more appropriate policy responses by managers.Originality/valueThe paper specifies the conditions under which relationships between voice, exit, loyalty and neglect will affect workplace outcomes in greater detail. This leads to a re‐examination of factors that should be included in empirical assessments. Research findings may need to be re‐evaluated as a result.

Disciplinary voices

The concept of voice has become central to studies of discourse, composition, and literature, but in this paper I want to shift its meaning a little to explore an area where voice is thought to play only a minor role: that of academic writing. I intend here to explore the idea of ‘disciplinary voice’ by focusing on the interpersonal features of academic writing and elaborating how writers position themselves and their readers. Essentially, I believe the idea of voice can shed light on aspects of disciplinary argument and am interested to see what these features tell us about writers’ notions of appropriate relationships and what this means for writing in the disciplines. I will begin by looking briefly at the notion of voice, and go on to sketch an interactional model based on the ideas of stance, or how writers convey their attitudes and credibility, and engagement, or the ways they bring their readers into the discourse. I will then show how the choices writers make from these systems construct authorial voice, academic arguments, and the disciplines themselves.

UNITY AND DIVERSITY IN LANGUAGE USE

UNITY AND DIVERSITY IN LANGUAGE USE. Kristyan Spelman Miller and Paul Thompson (Eds.). New York: Continuum, 2002. Pp. 224. $60.00 paper.This collection of 13 papers from the annual meeting of the British Association of Applied Linguistics held in 2001 covers a broad range of topics, including doctor-patient communications, students' interpretations of teachers' gestures, and measuring the lexical complexity of texts. A theme that runs throughout the collection and foreshadows an area of much current interest is the notion of voice and identity.

Voice: A Pathway to Consciousness as “Social Contact to Oneself”

Starting from a dialogical view of human communicative and cognitive processes, the notion and the phenomenon of voice by different authors is explored. Assuming its concreteness as perceivable event, a description of the phenomenon is then given in five key concepts: indexicality, intonation, body, imitation, and internalization. With regard to the transformation of the phenomenon to an interior experience, as suggested by the notion of voice as psychological position and by the term of inner voice, the concept of internalization is paid special attention to. The experienced voice of a significant other is understood as mechanism of internalization, allowing for the movement from other to self: a meaningful and embodied social form tied to another person. The course of reflection finally leads to considering consciousness in the perspective of voice. The voice of a communicating person is thought to be a powerful means for the emergence of an interior experience of self and other. And this experience is, in turn, linked to consciousness in its complex states.

Voice and Biliteracy in Indigenous Language Revitalization: Contentious Educational Practices in Quechua, Guarani, and Māori Contexts

This article considers instances of biliterate educational practice in contexts of indigenous language revitalization involving Quechua in the South American Andes, Guarani in Paraguay, and Māori in Aotearoa/NewZealand. In these indigenous contexts of sociohistorical and sociolinguistic oppression, the implementation of multilingual language policies through multilingual education brings with it choices, dilemmas, and even contradictions in educational practice. I consider examples of such contentious educational practices from an ecological perspective, using the continua of biliteracy and the notion of voice as analytical heuristics. I suggest that the biliterate use of indigenous children's own or heritage language as medium of instruction alongside the dominant language mediates the dialogism, meaning-making, access to wider discourses, and taking of an active stance that are dimensions of voice. Indigenous voices thus activated can be a powerful force for both enhancing the children's own learning and promoting the maintenance and revitalization of their languages.

Listening to Millay

Listening to Millay Derek Furr (bio) "Besides having beautiful hair, an extraordinary good forehead in spite of the freckles, an impudent, aggressive, & critical nose, and a mysterious mouth . . . I have, artistically & even technically, an unusually beautiful throat." —Millay to family, Sept. 17, 1914, quoted in Milford, 117 In the poetry of Edna St. Vincent Millay, presentation is perhaps not all, but it is supremely important. Throughout the 1920's and 30's, when Millay's fame was on the ascendancy, her poetry arrived in beautiful packaging: there was her tantalizing persona, at once cheeky gamine and brooding romantic; there were artfully-crafted editions of her poems, always featuring that most cultivated of lyric forms, the sonnet; and there was her voice, which her would-be lover Edmund Wilson described as the source of her authority with her audience. Traces of that voice remain in recordings that Millay made of her work, and in the notations of many of her listeners who tried to describe her sound and her style of reading. Millay's voice was as familiar to her contemporaries as her "extraordinary good forehead" and "mysterious mouth." What role, therefore, should listening to Millay play in our current understanding of her persona and poetry? I will address this question by beginning to construct an audible Millay from the various remaining traces of her voice. I will consider Millay's references to the qualities of her voice and what she called her "throat," and I will analyze public reactions to her readings. This material will provide a rich context for the second part of the essay, in which I will analyze her reading style and the arrangement of poems on her recordings in order to demonstrate the critical differences between listening to Millay "then" versus "now." [End Page 94] Voice as Artifact As we shall see when we examine their letters, Millay's listeners assumed that the poet's voice embodied her poetry and her true self. This assumption is similar to that underlying the current compilation, Poetry Speaks, which suggests in its very title that poetry is embodied voice. That assumption was the subject of Derrida's deconstruction of voice-as-presence in Speech and Phenomena. The power of the voice, as Derrida describes it, originates in an illusion of unmediated presence. Having no "worldly form," the voice appears to issue from a true self, one that hears its own voice before speaking and is then heard by others. The voice or the spoken word, Derrida argues, appears to be the subject: "My words are 'alive' because they seem not to leave me: not to fall outside me, outside my breath, at a visible distance; not to cease to belong to me, to be at my disposition 'without further props'" (Derrida, 19). However, when words are imagined or spoken, there is movement through time, suggesting to Derrida that voice and "self-presence" are traces, on the same field of play as printed words or perceived objects. The recorded voice is, of course, necessarily situated in time—the time of the recording and of the listening. If we accept Derrida's notion of voice, we might study the recorded voice much as we would a printed text, taking into consideration context and intertexts. When we listen to Millay, we hear her assumptions about what a poet and poem sound like, and we hear her audience, not only as ambient noise on a recording but also as instrumental in the development of her vocal quality and reading style. Such close listening, in which the poet's voice is treated as situated, cultural artifact, has been a focus recently in Victorian period scholarship. Most of this work involves an effort to re-imagine ways of engaging Victorian poetry, especially in providing insight into metrical and generic variety. On the topic of recorded poetry, John Picker's study Victorian Soundscapes is most useful. Picker analyzes the late Victorian reception of recordings created for Edison's phonograph, especially recordings of poets reading from their work. He notes that, on the one hand, Edison's representatives and the poets that they recorded considered the recordings a form of embalming: as they understood it, their voices...

Reflections on Mirrors

[A lecture delivered in the Department of Romance Languages and Literatures, Johns Hopkins University, September 23, 2004.] When Johns Hopkins extended its kind invitation to me yet again, I thought long and hard about what I might say today. I thought that I might speak about the question of mourning in the work of Georges Perec; but when the issue of Yale French Studies containing that piece of mine appeared (contrary to all expectations) on schedule, I told myself that you might prefer something else. I thought about offering a few remarks about the notion of voice in Lydie Salvayre, a writer who has intrigued me deeply over the past few years. I considered doing a piece on lectures in literature, relying principally on Salvayre's La Conference de Cintegabelle and Danielle Memoire's Lecture publique suivie d'un debat. I wondered if I might not address Gerard Gavarry's Hop ld! un deux trois, an astonishing text wherein a novel reinvents itself three times before our eyes, but I realized that I have not yet come to satisfactory terms with that difficult novel-though I have not despaired of doing so. I thought, finally, of doing a piece on naysayers and underground men, figures like Oblomov, Bartleby, the narrator of Kafka's The Burrow, Ralph Ellison's invisible man, the protagonist of Perec's Un Homme qui dort, or any one ofJean-Philippe Toussaint's delightful and hopelessly benighted heroes. I told myself moreover that I was eminently qualified to speak about figures of that dubious stripe, having recently completed a term as chair of my

Introduction: acts of alterity

Many contemporary analyses of language and identity focus on the acts of speakers expressing or voicing some self. Such an approach reductively aligns speakers, performances, voices, and selves. This introductory essay argues that identity has become an unanalyzed first principle of linguistic analysis that has occluded or absorbed other equally important aspects of linguistic practice, including performances of alterity. The essay relativizes performances of identity by placing them along a broader continuum between performances of identity and performances of alterity, focusing concretely on how the notions of voice and exemplary figures lay the ground for a linguistic anthropological analysis of language and difference.

Transformative approaches to student voice: theoretical underpinnings, recalcitrant realities

This article explores some of the theoretical underpinnings of radical approaches to student voice and examines a number of practical issues we need to address if we wish to move towards a more transformative future. The framework within which the notion of voice is explored and critiqued falls primarily into two categories. The first, Deconstructing the presumptions of the present, explores the largely ignored problematic of much student voice work. (1) ‘Problems of speaking about others’, (2) ‘Problems of speaking for others’, and problems of (3) ‘Getting heard’ reveal a range of issues that need to be better understood and acknowledged. The second, On the necessity of dialogue, attempts a resolution, exploring the possibility of (4) ‘Speaking about/for others in supportive ways’ before offering the preferred (5) ‘Dialogic alternative: speaking with rather than for’ and further developing that line of enquiry through (6) ‘Students as co/researchers’. Finally, (7) ‘Recalcitrant realities, new opportunities’ offers some ambivalent, but still hopeful thoughts about current realities and future possibilities.

Voices in Her Head

Reading Lydie Salvayre is principally a matter of listening. A clamor of voices resounds in her writingsvoices of rage, of loathing, of indignation, of sorrow, of fear, of desperation. They shout, they whisper, they castigate, they wheedle, they condemn. Some voices are maddeningly prolix, others are painfully laconic; some offer carefully reasoned insight, others speak to nothing; some emanate from the lower reaches of society, others from points of rare privilege. Often they are monological, either by choice or by force of circumstance; and frequently those voices are anonymous ones. Some speak in bleakly literalist terms, while others layer irony upon irony in a discourse that is hopelessly vexed. Sometimes, people speak constantly, but soundlessly, in a silence more deafening than the most strident imaginable. As often as not, nobody listens-except for us, if we are willing. The notion of voice in literature is of course an exceedingly slippery one. Eric Prieto recently pointed out that the semantic field of that construct has been considerably expanded in our time: No longer exclusively associated with the spoken word and performance, takes on the more general meaning of 'personal style,' that is, those elements of written elocution that give us access to the specific personality and 'thought patterns' of a writer (285). Susan Lanser, for her part, argues that the construct means different things in different critical registers. When feminists invoke the idea of voice, for instance, they typically use it as a general, mimetic, and political term; when narratologists deploy it, they do so in ways that are specific, semiotic, and technical (4). Maurice Blanchot famously described narrative as something always emanating from an elsewhere with regard to the putative where of narrative. Conceiving stories as bounded, or encircled, Blanchot suggests that narrative speaks from outside of those limits: one gets the impression that someone is speaking from behind, prompting the characters, or the events, telling them what to say (55657).l If our reading necessarily encourages us to suspect the existence of such a point, however, its very eccentricity makes it all the more difficult to locate with any degree of precision. And the more closely we pursue it, the more quickly it

Voice in Japanese written discourse: Implications for second language writing

While the study of written discourse that informs the field of L2 writing has generated many insights into its generalizable features, individual variations have largely been neglected. This article explores the possibilities for the study of divergent aspects of discursive practices by focusing on the notion of voice and considers the implications for L2 writing research and instruction. I begin by examining recent critiques of the notion of voice that emphasize its strong association with the ideology of individualism and argue that the notion of voice is not exclusively tied to individualism. To demonstrate that the practice of constructing voice is not entirely foreign to so-called “collectivist cultures,” I present evidence of voice in Japanese electronic discourse, focusing on how voice is constructed through the use of language-specific discursive features. Based on this analysis, I argue that the difficulties that Japanese students face in constructing voice in English written discourse are due not to its incompatibility with their cultural orientation but to the different ways in which voice is constructed in Japanese and English as well as the lack of familiarity with the strategies available in English.

Children's voices: Can we hear them?

This article addresses an important but often neglected notion in the care of children--the notion of voice. Recognizing that a crucial role for pediatric nurses is that of advocate for the child, this article poses the questions of how children's voices can be heard and how nurses know whose voice they represent when they act in an advocacy capacity. Drawing on contributions from psychology, sociology, and feminist studies, the analysis narrows our focus to the special challenge created for pediatric nurses when they recognize the importance of voice in caring for children, and examines the complexities inherent in attending to voice in pediatric nursing practice.

A Question of Voice in Poetry and Psychoanalysis

The author discusses the notion of voice as a contribution to the development of a set of ideas and an attendant vocabulary adequate for describing the richness and complexity of language usage in the analytic setting. In a discussion of the sounds, movement, and texture of voice in poems by Robert Frost and Wallace Stevens, the author illustrates ways in which a listener attempts to experience how a speaker creates a voice and brings himself to life through his use of language. The layering of sounds and feelings in voice is discussed in terms of the creation of “oversounds” derived from the experience of analyst and analysand in the jointly constructed unconscious “analytic third.”