In First Paragraphs, Donald Newlove presented his personal selection of the winningest openings in world literature. In Painted Paragraphs, he did the same for the best descriptive passages ever written. Now, in Invented Voices, Newlove shares with us his choices for the most convincing, the most entertaining, the most memorable pieces of dialogue ever to hit the page--from novels, short stories, movie scripts, and plays. Among Newlove's favorites are exchanges from novels as diverse as Jane Austen's Pride Prejudice and Terry McMillan's Disappearing Acts; drama that ranges from Beckett's Waiting for Godot to Chekhov's The Seagull; movie scripts that include Raging Bull, On the Waterfront, Howards End, and Children of Paradise. But Newlove does more here than just catalog great dialogue. By catching at full bloom the talents of great writers, he inspires and instructs the rest of us to shake off artifice and safety and invent voices that are rich, real, and from the heart.

We all hear voices. Ordinary thinking is often a kind of conversation, filling our heads with speech: the voices of reason, of memory, of self-encouragement and rebuke, the inner dialogue that helps us with tough decisions or complicated problems. For others - voice-hearers, trauma-sufferers and prophets - the voices seem to come from outside: friendly voices, malicious ones, the voice of God or the Devil, the muses of art and literature. In The Voices Within, Royal Society Prize shortlisted psychologist Charles Fernyhough draws on extensive original research and a wealth of cultural touchpoints to reveal the workings of our inner voices, and how those voices link to creativity and development. From Virginia Woolf to the modern Hearing Voices Movement, Fernyhough also transforms our understanding of voice-hearers past and present. Building on the latest theories, including the new 'dialogic thinking' model, and employing state-of-the-art neuroimaging and other ground-breaking research techniques, Fernyhough has written an authoritative and engaging guide to the voices in our heads. WELLCOME COLLECTION Wellcome Collection is a free museum and library that aims to challenge how we think and feel about health. Inspired by the medical objects and curiosities collected by Henry Wellcome, it connects science, medicine, life and art. Wellcome Collection exhibitions, events and books explore a diverse range of subjects, including consciousness, forensic medicine, emotions, sexology, identity and death. Wellcome Collection is part of Wellcome, a global charitable foundation that exists to improve health for everyone by helping great ideas to thrive, funding over 14,000 researchers and projects in more than 70 countries. wellcomecollection.org

In How Invention Begins, Lienhard reconciles the ends of invention with the individual leaps upon which they are built, illuminating the vast web of individual inspirations that lie behind whole technologies. He traces, for instance, the way in which thousands of people applied their combined genius to airplanes, trains, and automobiles, revealing how a collective desire, an upwelling of fascination, a spirit of the times--a Zeitgeist--laid its hold upon inventors. The thing they all sought to create was speed itself. Can we speak of speed as an invention? To do so, he concludes, is certainly no greater a stretch than to call the car an "invention."

Interested in Pursuing a Career in VO? Curious what goes on behind the scenes in a business where people talk funny for money? This updated edition of the award-winning first book offers a fun and comprehensive look at what it takes, what goes on, and what it's like behind the mic from two (still) working pros who started from scratch. In this book you will discover: - The ins and outs of auditioning - Vocal warm-ups and exercises - Tips for reading copy to maximum effect - Hints to help you stand out - Advice for setting up your own home studio - Keys to marketing yourself: demo > agent > job - What to expect when you book the job - A bonus workbook to hone your skills - Performance capture, podcasting, & more!

Today Mussolini is remembered as a hated dictator who, along with Hitler and Stalin, ushered in an era of totalitarian repression unsurpassed in human history. But how was he viewed by ordinary Italians during his lifetime? In Fascist Voices, Christopher Duggan draws on thousands of letters sent to Mussolini, as well as private diaries and other primary documents, to show how Italian citizens lived and experienced the fascist regime under Mussolini from 1922-1943. Throughout the 1930s, Mussolini received about 1,500 letters a day from Italian men and women of all social classes writing words of congratulation, commiseration, thanks, encouragement, or entreaty on a wide variety of occasions: his birthday and saint's day, after he had delivered an important speech, on a major fascist anniversary, when a husband or son had been killed in action. While Duggan looks at some famous diaries-by such figures as the anti-fascist constitutional lawyer Piero Calamandrei; the philosopher Benedetto Croce; and the fascist minister Giuseppe Bottai-the majority of the voices here come from unpublished journals, diaries, and transcripts. Utilizing a rich collection of untapped archival material, Duggan explores "the cult of Il Duce," the religious dimensions of totalitarianism, and the extraordinarily intimate character of the relationship between Mussolini and millions of Italians. Duggan shows that the figure of Mussolini was crucial to emotional and political engagement with the regime; although there was widespread discontent throughout Italy, little of the criticism was directed at Il Duce himself. Duggan argues that much of the regime's appeal lay in its capacity to appropriate the language, values, and iconography of Roman Catholicism, and that this emphasis on blind faith and emotion over reason is what made Mussolini's Italy simultaneously so powerful and so insidious. Offering a unique perspective on the period, Fascist Voices captures the responses of private citizens living under fascism and unravels the remarkable mixture of illusions, hopes, and fears that led so many to support the regime for so long.

Just as today’s embrace of the digital has sparked interest in the history of print culture, so in eighteenth-century Britain the dramatic proliferation of print gave rise to urgent efforts to historicize different media forms and to understand their unique powers. And so it was, Paula McDowell argues, that our modern concepts of oral culture and print culture began to crystallize, and authors and intellectuals drew on older theological notion of oral tradition to forge the modern secular notion of oral tradition that we know today. Drawing on an impressive array of sources including travel narratives, elocution manuals, theological writings, ballad collections, and legal records, McDowell re-creates a world in which everyone from fishwives to philosophers, clergymen to street hucksters, competed for space and audiences in taverns, marketplaces, and the street. She argues that the earliest positive efforts to theorize "oral tradition," and to depict popular oral culture as a culture (rather than a lack of culture), were prompted less by any protodemocratic impulse than by a profound discomfort with new cultures of reading, writing, and even speaking shaped by print. Challenging traditional models of oral versus literate societies and key assumptions about culture’s ties to the spoken and the written word, this landmark study reorients critical conversations across eighteenth-century studies, media and communications studies, the history of the book, and beyond.

Voices and Books in the English Renaissance offers a new history of reading that focuses on the oral reader and the voice- or performance-aware silent reader, rather than the historical reader, who is invariably male, silent, and alone. It recovers the vocality of education for boys and girls in Renaissance England, and the importance of training in pronuntiatio (delivery) for oral-aural literary culture. It offers the first attempt to recover the voice—and tones of voice especially—from textual sources. It explores what happens when we bring voice to text, how vocal tone realizes or changes textual meaning, and how the literary writers of the past tried to represent their own and others' voices, as well as manage and exploit their readers' voices. The volume offers fresh readings of key Tudor authors who anticipated oral readers including Anne Askew, William Baldwin, and Thomas Nashe. It rethinks what a printed book can be by searching the printed page for vocal cues and exploring the neglected role of the voice in the printing process. Renaissance printed books have often been misheard and a preoccupation with their materiality has led to a focus on them as objects. However, Renaissance printed books are alive with possible voices, but we will not understand this while we focus on the silent reader.

Inventing a Voice is a comprehensive work on the lives and communication of twentieth-century first ladies. Using a rhetorical framework, the contributors look at the speaking, writing, media coverage and interaction, and visual rhetoric of American first ladies from Ida Saxton McKinley to Laura Bush. The women's rhetorical devices varied--some practiced a rhetoric without words, while others issued press releases, gave speeches, and met with various constituencies. All used interpersonal or social rhetoric to support their husbands' relationships with world leaders, party officials, boosters, and the public. Featuring an extensive introduction and chapter on the 'First Lady as a Site of 'American Womanhood, '' Wertheimer has gathered a collection that includes the post-White House musings of many first ladies, capturing their reflections on public expectations and perceived restrictions on their communication.