True-life spine-chilling encounters with disembodied voices throughout history and in the present day Never-before-published accounts for those who have heard the voices and those who expect they might; also for fans of the paranormal or the unknown Important: They know your name (whoever you are, wherever you are)

From two-time National Book Award finalist Deborah Wiles, a masterpiece exploration of one of the darkest moments in our history, when American troops killed four American students protesting the Vietnam War. May 4, 1970. Kent State University. As protestors roil the campus, National Guardsmen are called in. In the chaos of what happens next, shots are fired and four students are killed. To this day, there is still argument of what happened and why. Told in multiple voices from a number of vantage points -- protestor, Guardsman, townie, student -- Deborah Wiles's Kent State gives a moving, terrifying, galvanizing picture of what happened that weekend in Ohio . . . an event that, even 50 years later, still resonates deeply.

Looks at the history of radio broadcasting as an aspect of American culture, and discusses social tensions, radio formats, and the roles of African Americans and women

The Open Access version of this book, available at www.taylorfrancis.com/books/9781472453983, has been made available under a Creative Commons Attribution-Non Commercial-No Derivative 4.0 license. Experiences of hearing the voice of God (or angels, demons, or other spiritual beings) have generally been understood either as religious experiences or else as a feature of mental illness. Some critics of traditional religious faith have dismissed the visions and voices attributed to biblical characters and saints as evidence of mental disorder. However, it is now known that many ordinary people, with no other evidence of mental disorder, also hear voices and that these voices not infrequently include spiritual or religious content. Psychological and interdisciplinary research has shed a revealing light on these experiences in recent years, so that we now know much more about the phenomenon of "hearing voices" than ever before. The present work considers biblical, historical, and scientific accounts of spiritual and mystical experiences of voice hearing in the Christian tradition in order to explore how some voices may be understood theologically as revelatory. It is proposed that in the incarnation, Christian faith finds both an understanding of what it is to be fully human (a theological anthropology), and God’s perfect self-disclosure (revelation). Within such an understanding, revelatory voices represent a key point of interpersonal encounter between human beings and God.

There was much uncertainty about how voice related to body in the early eighteenth century, and this became a major subject of scientific and cultural interest. In Voices from Beyond, Scott Sanders provides an interdisciplinary and transnational study of eighteenth-century conceptions of the human voice. His book examines the diversity of thought about vocal materiality and its roles in philosophical and literary works from the period, uncovering representations of the voice that intertwine physiology with physics, music with moral philosophy, and literary description with performance. Voices from Beyond focuses on the voice as it was constructed in French works, influenced by French vocal sciences as well as British literary and philosophical texts. It considers the writing of Jean-Jacques Rousseau, Denis Diderot, François Baculard d'Arnaud, and Jacques Cazotte in particular, and explores how their texts theorize, represent, and construct three interrelated vocal types: the sentimental, the vitalist, and the uncanny. These authors represented the human voice as an intersectional organ with implications for one's emotional disposition, physical health, cultural identity, gender, and sexuality. Sanders argues that while the conception of sentimental and vitalist voices was anchored to a physiological understanding of vocal organs, this paradoxically led to the development of a disembodied, uncanny voice--one that could imitate the sounds of a good moral fiber while masking a monstrous physiology.

A fine-grained ethnography exploring the sociopolitical power of Kurdish women’s voices in contemporary Turkey. “Raise your voice!” and “Speak up!” are familiar refrains that assume, all too easily, that gaining voice will lead to empowerment, healing, and inclusion for marginalized subjects. Marlene Schäfers’s Voices That Matter reveals where such assumptions fall short, demonstrating that “raising one’s voice” is no straightforward path to emancipation but fraught with anxieties, dilemmas, and contradictions. In its attention to the voice as form, this book examines not only what voices say but also how they do so, focusing on Kurdish contexts where oral genres have a long, rich legacy. Examining the social labor that voices carry out as they sound, speak, and resonate, Schäfers shows that where new vocal practices arise, they produce new selves and practices of social relations. In Turkey, recent decades have seen Kurdish voices gain increasing moral and political value as metaphors of representation and resistance. Women’s voices, in particular, are understood as potent means to withstand patriarchal restrictions and political oppression. By ethnographically tracing the transformations in how Kurdish women relate to and employ their voices as a result of these shifts, Schäfers illustrates how contemporary politics foster not only new hopes and desires but also create novel vulnerabilities as they valorize, elicit, and discipline voice in the name of empowerment and liberation.

This Element provides new ways of reading the soundscape of the Gothic text. Drawing inspiration from the field of 'sonic Gothic' studies, which has been spearheaded by the writings of Isabella van Elferen, as well as from Mladen Dolar's articulation of the psychoanalytic 'object' voice, this study introduces the critical category of 'vococentric Gothic' into Gothic scholarship. In so doing, it reads important moments in Gothic fiction when the voice takes precedence as an uncanny, monstrous or seductive object. Historically informed, the range of readings proffered demonstrate the persistence of these vocal motifs across time (from the Gothic romance to contemporary Gothic) and across intermedia forms (from literature to film to podcasts). Gothic Voices, then, provides the first dedicated account of voices of terror and horror as they develop in the Gothic mode from the Romantic period until today.

MAKING THE STAGE is a collection of essays that examines the role of theatre, drama, and performance in contemporary culture, a culture that is growing increasingly technological and isolated--seemingly at odds with the very nature of theatre, a collaborative and sometimes very primitive art form. Through the course of these essays, it is clear that theatre not only survives some of the challenges of the day but even defines discussions, particularly political ones which are prohibited by an increasingly manipulated media. The essays, from a diverse group of theatre scholars, examine the mechanics of theatre, from space to sound to the use of technology, the role of women in creating theatre, the relationship between theatre and literary art forms, the politics of theatre, science and theatre, and the role of performance art. Through them all, it is clear that theatre, drama, and performance continue to speak in significant ways.

Analyzes audio recordings of interwar Hebrew plays, providing a new model for the use of sound in theater studies. Possessed Voices tells the intriguing story of a largely unknown collection of audio recordings, a valuable tool for understanding historical theater, which preserve performances of modernist interwar Hebrew plays. Seldom used in scholarship, Ruthie Abeliovich focuses on four recordings: a 1931 recording of The Eternal Jew (1919), a 1965 recording of The Dybbuk (1922), a 1961 radio play of The Golem (1925), and a 1952 radio play of Yaakov and Rachel (1928). Abeliovich traces the spoken language of modernist Hebrew theater as grounded in multiple modalities of expressive practices, including spoken Hebrew, Jewish liturgical sensibilities supplemented by Yiddish intonation and other vernacular accents, and in relation to prevalent theatrical forms. The book shows how these performances provided Jewish immigrants from Europe with a venue for lamenting the decline of their home communities and for connecting their memories to the present. Analyzing sonic material against the backdrop of its artistic, cultural, and ideological contexts, Abeliovich develops a critical framework for the study of sound as a discipline in its own right in theater scholarship. “The author’s focus on historicizing and analyzing sound recordings and radio plays as a means to tackle the pervasive ephemerality problem in theater studies is a novel and valuable approach that represents a significant intervention in the field. These types of sources have had scant attention in theater studies to date, but Abeliovich makes a compelling argument that they belong at the center.” — Debra Caplan, author of Yiddish Empire: The Vilna Troupe, Jewish Theater, and the Art of Itinerancy