Separate Voices Research Articles

God, Humanity, and History: The Hebrew First Crusade Narratives (review)

God, Humanity, and History; The Hebrew First Crusade Narratives. By Robert Chazan. (Berkeley: University of California Press. 2000. Pp. xi, 270. $40.00.) The three extant Hebrew First Crusade Narratives have for some time attracted much interest. Scholars have attempted to date the sources and work out what kind of relationship exists between them. Questions have been asked about their reliability as reports of the persecution of the Jews of the Rhineland in 1096 by the so-called Popular Crusade. The highly evocative portrayal of awesome martyrdom by these Ashkenazi Jews has in particular generated much research. Robert Chazan, who is very well known for his many works on the Jews of medieval Europe, offers his own conclusions about the genesis of the narratives. Rather than simply working out the possible relationships between the three sources, he identifies within them five separate voices. The voices closest to the actual happenings of spring and summer, 1096, belong, according to Chazan, to the unit concerning Trier in the composite narrative ascribed to Solomon bar Simpson and to the chronicle written by an Anonymous from Mainz. These voices are especially interested in what Chazan dubs time-bound issues, i.e., in the specifics of what happened. In addition, the Mainzer Anonymous aims to give meaning to what happened within a timeless framework in order to counter Christians' claims that the calamities befalling the Jews prove Jewish iniquity in denying Christ. Two other voices belong, in Chazan's view, to the author of the unit on Cologne incorporated in the Bar Simpson compilation and the voice of the editor of that compilation, who may be Solomon bar Simpson himself, who, in turn, may even be the author of the Cologne unit. These voices express even more strongly timeless issues like the heroism of the Jewish martyrs which is expected to evoke in due course God's favorable intervention on behalf of the children of Israel in the course of history. Chazan calls the narrative usually ascribed to Eliezar bar Nathan the fifth voice. This voice is largely interested in the timeless issues of liturgical dirges, using narrative as expository material for the poetry which lies at the core of its composition. The especial interest of this book is the way Chazan uses the voices he has identified to understand the reaction of the Jews of late eleventh-century Ashkenaz to the violence they faced in 1096. The peculiar forms of martyrdom expressed by these voices reveal how aware German Jews were of the preoccupations of their Christian neighbors and how adept they were in formulating a creative response to protect their Jewish identity just as the Christian milites Christi were setting out to restore Jerusalem to Christ, fully prepared to become martyrs for their Lord, so the Jewish voices acclaim the Jewish martyrs as the true heroes of the Crusade, as they actively embraced martyrdom for themselves and for their children in honor of God. …

Sensible Elocution

Modernist fiction uses punctuation, along with such syntactic structures as conjunction and parataxis, in experimental ways, for visual effect or to highlight the interplay of textual voices. This is a break with historical uses of punctuation to mark rhetorical periods for oral delivery or to clarify sentences and delineate their grammatical structure. For translators, it appears that the clarifying, or editorial, approach is still the most comfortable one, even when they are translating modernist prose. A study of Russian and French translations of the writings of Virginia Woolf and William Faulkner reveals regular patterns of alteration of punctuation and syntax, as translators resolve incomplete phrases or separate intertwined voices. The case is made for close attention in translation to the topology of expectations and interrelations that modernist syntax and punctuation establish.

Instrumentalna zbirka Musicalische Ehrenfreudt (1618) skladatelja Isaaca Poscha

Instrumentalna zbirka Musicalische Ehrenfreudt (1618) skladatelja Isaaca Poscha

Art therapy in OZ: Report from Australia

We are American art therapists currently teaching in the first art therapy master’s program to be established in Australia. The aim of this report is to describe, from our perspective, the development and present status of art therapy in Australia, introducing the reader to information about its history, its national association and its current trends in training and practice. Also included is a comparison between Australian and American art therapy that highlights the unique features of Australian art therapy and its potential to offer a distinctive contribution to the art therapy field as a whole. In order to bring to life the adventurous quality of working in this part of the world and to give the reader a sense of “being there,” we have interwoven persona1 impressions in our separate voices throughout the factual information of the text.

Living and writing the researcher‐researched relationship

Abstract This article recounts the development of a relationship between a university researcher and a public school practitioner, and describes how changes in this relationship affected the research process itself. The article addresses three issues central to qualitative studies in education: the attempt to have research benefit practice; the formation of reciprocal relationships between researchers and those researched; and the writing of ethnographic accounts. The story is told in separate voices, alternating between the person researched and the researcher. Each voice describes how the relationship moved through six distinct, yet related, phases. Beginning with caution and skepticism, moving toward trust and self‐disclosure, each of these phases affected the conduct of the research study and its findings.

JULY 18, 1988, AT A SEXUAL ASSAULT AND BATTERED WOMEN'S CENTER

On July 18, 1988, workers at the Metropolitan YWCA Women's Services, a Chicago-area center designed to assist women and children who are survivors of violence and sexual assault, agreed to record in a journal their thoughts at a chosen hour during that day. Each section was written by a different worker. The purpose was to bring together separate voices, all connected through their common work with survivors to begin to understand the impact of this work on their own lives.

Complex tones with log-spaced partials

The importance of ratio in the chromatic scale and in the perception of musical intervals, coupled with the evidence that the cochlear transmission line exhibits logarithmic frequency spacing suggests that logarithmically spaced partials could produce exciting new musical materials. Tones with log-spaced partials were generated such that the complex tone has the same number of partials per octave as the regular harmonic series. Partial structure is of the form f1 = 2(n+m/2n)f1, with n = octave above f1 (=0, 1, 2 …); m = 0, 1, 2 … 2n − 1. In such log-spaced tones, all neighboring partials within any octave above the fundamental have the same frequency ratio. Since tones with log-spaced partials do not time lock readily, having no least common divisor, it should be difficult to separate the voices in multipart composition compared to chords composed of conventional tones. Subjects were required to identify standard intervals and were tested on hearing separate voices of simple musical phrases.

The Role of Co-Teachers in Team Teaching

tern drills with the entire class, while the second teacher contributes to the progress of the class by writing unfamiliar vocabulary items on the blackboard. The second teacher could listen closely to students and take individuals aside for special attention to certain problems noticed while a drill was being conducted. 96 The second teacher could also note difficulties and be prepared to give a short review drill to the entire group of students after his co-teacher has finished the drill session. In a more structured method of drilling, one teacher would be responsible for stimulus sentences and the other for the responses to them. In this case, the first teacher would state a stimulus sentence and then elicit a choral and several individual repetitions. The second teacher could thereupon state the response either himself or ask a student to reply. In either case, the response should be followed by a choral repetition. The same drilling procedure could, of course, be used in dialogue drilling with each teacher assuming a different speaking role from the dialogue. Besides increasing the pace of instruction and livening up the classroom atmosphere generally, this procedure has the added advantage that stimulus and response sentences can be more clearly differentiated by students because they are uttered by separate voices and are enacted by separate personalities.