In a world where news and entertainment are controlled by a single corporation, communication becomes a dangerous adventure. Truly Stimulating -Space Coast Press Echo's Voice has a fascinating premise for a science fiction novel and features some complex and intriguing world-building. . The plot is also well set up, with a hook that draws you into the complexities of the story and creates instant sympathy for its trapped heroine. -Scribes World Reviews The story will hook you completely . you will be fully involved in Rick and Echo's adventure. -The Bookdragon Reviews Echo's Voice is a tale of courage and dedication, of a young woman whose spirit refuses to succumb to the temptations of both the serpent and paradise, who accepts hardship with the same dauntless enthusiasm as she does pleasure. It is a warning to all of us not to allow ourselves to be lulled by the sweet voice of those who think they know best about what we should know and believe. -Inscriptions

Helene Cixous (1937-), distinguished not least as a playwright herself, told Le Monde in 1977 that she no longer went to the theatre: it presented women only as reflections of men, used for their visual effect. The theatre she wanted would stress the auditory, giving voice to ways of being that had previously been silenced. She was by no means alone in this. Cixous's plays, along with those of Nathalie Sarraute (1900-99), Marguerite Duras (1914-96), and Noelle Renaude (1949-), among others, have proved potent in drawing participants into a dynamic 'space of the voice'. If, as psychoanalysis suggests, voice represents a transitional condition between body and language, such plays may draw their audiences in to understandings previously never spoken. In this ground-breaking study, Noonan explores the rich possibilities of this new audio-vocal form of theatre, and what it can reveal of the auditory self.

Building PowerPointTemplates Supercharge your PowerPoint® presentations with custom templates and themes! Want to create presentations that are more consistent and cost-effective? Presentations that fully reflect your branding? Then don’t settle for Microsoft’s “out-of-the-box” templates and themes: create your own! In this easy, hands-on guide, two PowerPoint MVPs teach you every skill and technique you’ll need to build the perfect template–from planning and design, through theme building, custom layouts, colors, and deployment. Echo Swinford and Julie Terberg have distilled their immense PowerPoint knowledge into simple, step-by-step techniques you can use right now, whether you’re using PowerPoint 2010 or 2007 for Windows, or PowerPoint 2011 for Mac. Well-built templates are the backbone of great presentations—whether building them for your own use or designing for thousands of users, this book will guide you through the process of creating the most effective templates. Important Note: Upgrading from older versions of PowerPoint, such as PowerPoint 2003? Your old templates may no longer work. This book will help you make the transition painlessly! • Plan new templates and themes to maximize their business value for years to come • Understand the differences between templates and themes, and how they work together • Make better choices about color, fonts, and slide layouts • Create efficient templates for individual users, teams, and large organizations • Incorporate Notes and Handout Masters into your presentation templates • Provide example slides and default settings that lead to better presentations • Use Microsoft’s little-known Theme Builder to create effects and background styles • Work around hidden quirks in PowerPoint’s advanced template and theme features Echo Swinford, a Microsoft PowerPoint MVP since 2000, has been a featured speaker at the Presentatio Summit (formerly PowerPoint Live) since its inception. She is the expert voice and instructor behind PowerPoint 2010 LiveLessons (Video Training), the author of Fixing PowerPoint Annoyances and co-author of The PowerPoint 2007 Complete Makeover Kit. Julie Terberg is a Microsoft PowerPoint MVP and featured speaker at the Presentation Summit. She is the owner of Terberg Design and has been designing presentations since the mid-1980s. She is co-author of Perfect Medical Presentations. As contributing author for Presentations Magazine, she won awards for her Creative Techniques columns.

Helene Cixous (1937-), distinguished not least as a playwright herself, told Le Monde in 1977 that she no longer went to the theatre: it presented women only as reflections of men, used for their visual effect. The theatre she wanted would stress the auditory, giving voice to ways of being that had previously been silenced. She was by no means alone in this. Cixous's plays, along with those of Nathalie Sarraute (1900-99), Marguerite Duras (1914-96), and Noelle Renaude (1949-), among others, have proved potent in drawing participants into a dynamic 'space of the voice'. If, as psychoanalysis suggests, voice represents a transitional condition between body and language, such plays may draw their audiences in to understandings previously never spoken. In this ground-breaking study, Noonan explores the rich possibilities of this new audio-vocal form of theatre, and what it can reveal of the auditory self.

Do women in classical Hollywood cinema ever truly speak for themselves? In Echo and Narcissus, Amy Lawrence examines eight classic films to show how women's speech is repeatedly constructed as a "problem," an affront to male authority. This book expands feminist studies of the representation of women in film, enabling us to see individual films in new ways, and to ask new questions of other films. Using Sadie Thompson (1928), Blackmail (1929), Rain (1932), The Spiral Staircase, Sorry,Wrong Number, Notorious, Sunset Boulevard (1950) and To Kill a Mockingbird (1962), Lawrence illustrates how women's voices are positioned within narratives that require their submission to patriarchal roles and how their attempts to speak provoke increasingly severe repression. She also shows how women's natural ability to speak is interrupted, made difficult, or conditioned to a suffocating degree by sound technology itself. Telephones, phonographs, voice-overs, and dubbing are foregrounded, called upon to silence women and to restore the primacy of the image. Unlike the usage of "voice" by feminist and literary critics to discuss broad issues of authorship and point of view, in film studies the physical voice itself is a primary focus. Echo and Narcissus shows how assumptions about the "deficiencies" of women's voices and speech are embedded in sound's history, technology, uses, and marketing. Moreover, the construction of the woman's voice is inserted into the ideologically loaded cinematic and narrative conventions governing the representation of women in Hollywood film.

First published in 1986, this title examines a set of English Renaissance texts by Shakespeare, Spenser, Herbert, Marvell and Milton, within the theoretic framework of postmodern thought. Following an opening chapter that argues for the value of this conjunction as a way of understanding literary history, subsequent chapters draw upon Jacques Derrida’s deconstruction of photocentrism and Jacques Lacan’s analysis of the agency of the letter to offer fully theorized readings. Throughout, there is a sustained concern with the transformations of such Ovidian figures as Narcissus and Echo, Perseus and Medusa, Orpheus and Eurydice, and with the echo effects of Virgilian pastoral, as paradigms for the interplay of voice and writing.