"Three short plays for one (female) actor - all featuring mothers on the edge. Two have been staged to great acclaim, the third - a new piece by Catherine Johnson - has yet to be performed. Jordan by Anna Reynolds with Moira Buffini: based on the true story of a young mother who kills her baby boy rather than have him taken away by his abusive father, it won the Writers' Guild Award for Best Fringe Play. The Lost Art of Keeping a Secret by Catherine Johnson: the alternating stories of two women (played by one actress) who 'lose' their sons, one apparently murdered, the other a runaway. Catherine Johnson wrote the book for Mamma Mia! as well as several plays for theatres in London and Bristol. Unsuspecting Susan by Stewart Permutt: a middle-aged, upper-middle-class woman, originally played by Celia Imrie, reveals more than she means to about her increasingly odd 33-year-old son."--BOOK JACKET.

The relationship between Islam and feminism is complex. There are many Muslim scholars who fervently promote women's equality. At the same time, there is ambivalence regarding the general norms, terminology, and approaches of feminism and feminist theology. This ambivalence is in large part a product of various hegemonic, androcentric, and patriarchal discourses that seek to dictate legitimate and authoritative interpretations. These discourses not only fuel ambivalence, they also effectively obscure valuable possibilities related to interreligious feminist engagement. Divine Words, Female Voices is the follow-up to Jerusha Lamptey's 2014 book, Never Wholly Other, in which she introduced the idea of "Muslima" theology and applied it to the topic of religious diversity. In this new book, she extends her earlier arguments to contend that interreligious feminist engagement is both a theologically valid endeavor and a vital resource for Muslim women scholars. She introduces comparative feminist theology as a method for overcoming challenges associated with interreligious feminist engagement, reorients comparative discussions to focus on the two "Divine Words" (the Qur'an and Jesus) and feminist theology, and uses this reorientation to examine intersections, discontinuities, and insights related to diverse theological topics. This book is distinctive in its responsiveness to calls for new approaches in Islamic feminist theology, its use of the method of comparative theology, its focus on Muslim and Christian feminist theology in comparative analysis, and its constructive articulation of Muslima theological perspectives.

By integrating theoretical approaches to the female voice with the musicological investigation of female singers’ practices, the contributors to this volume offer fresh viewpoints on the material, symbolic and cultural aspects of the female voice in the twentieth century. Various styles and genres are covered, including Western art music, experimental composition, popular music, urban folk and jazz. The volume offers a substantial and innovative appraisal of the role of the female voice from the perspective of twentieth-century performance practices, the centrality of female singers’ experimentations and extended vocal techniques along with the process of the ‘subjectivisation’ of the voice.

Ewe dance-drumming has been extensively studied throughout the history of ethnomusicology, but up to now there has not been a single study that addresses Ewe female musicians. James Burns redresses this deficiency through a detailed ethnography of a group of female musicians from the Dzigbordi community dance-drumming club from the rural town of Dzodze, located in South-Eastern Ghana. Dzigbordi was specifically chosen because of the author's long association with the group members, and because it is part of a genre known as adekede, or female songs of redress, where women musicians critique gender relations in society. Burns uses audio and video interviews, recordings of rehearsals and performances and detailed collaborative analyses of song texts, dance routines and performance practice to address important methodological shifts in ethnomusicology that outline a more humanistic perspective of music cultures. This perspective encompasses the inter-linkages between history, social processes and individual creative artists. The voices of Dzigbordi women provide us not only with a more complete picture of Ewe music-making, they further allow us to better understand the relationship between culture, social life and individual creativity. The book will therefore appeal to those interested in African Studies, Gender Studies and Oral Literature, as well as ethnomusicology. Includes a DVD documentary.

This collection presents fresh evidence and new perspectives on the diverse ways in which women created and interacted with cultures of song between c. 600 and c. 1500.

Protest is an activity not associated with the pious and collectively-minded, but more often seen as an activity of the liberal and rebellious. Judaism, Christianity and Islam are commonly understood as paragons of submission and obedience following Abraham’s example. Yet, the scriptures of all three faiths are founded in the prophets protesting wrongs in the social order. The Qur'an claims that men and women, and the relations between them are a sign from God. The question is to what extent are women silenced in the text, and do they share with men in shaping the prophetic scriptures? This book finds that far from silencing women, the Qur'an affirms the female voice as protester for justice and as questioner of Theology. In this reading of the female role in divine revelation in the Islamic text, Georgina Jardim returns to the scriptures of the Judeo-Christian counterpart of the Abrahamic faiths, to investigate whether the Bible may claim women as brokers of revelation. The result is an enriched understanding of divine communication in the Abrahamic scriptures and a commonplace for reasoning about the female voice as speaker in the Word of God.

All you ever wanted to know about the female voice but you never dared to ask by the leading world expert, Dr. Jean Abitbol! Enriched with numerous fascinating anecdotes, this exciting book covers the journey of the female voice and its development and impact on others from motherhood to old age. And the journey is full of surprises with answers to fascinating questions. Does voice have a sex? Is that voice sexual or hormonal? Is it genetic or epigenetic? Why do female voices change less at puberty than men’s voices? How does a woman’s voice change during her menstrual cycle? Is the female biological clock still a mystery? How and why is the voice the target of the sexual hormones? What kind of treatments are we using today-from contraceptive pills, hormonal replacement therapy to alternative medicine-that affect the voice and how do they affect it? Is a woman’s voice damaged after the hormonal “earthquake” that takes place when she is in her fifties? Could we avoid or prevent the aging voice in women? What are the specific pathologies affecting the female vocal folds? What are the links between diet, hygiene, and exercise, and how do they affect the female voice? Like a ship on the waves of the sea of life, the female voice, a life-space-time continuum, travels through the winds of emotion and hormonal changes brought about by aging. Dr. Jean Abitbol guides the reader through these changes, mapping the female voice’s journey through life. With his guidance, you will come to see and to understand the emotion, the power, the seduction, the force, and the charm of the female voice and how they converge to make up the female persona.

The Assembly of Ladies is a fifteenth-century secular love poem in Middle English that adheres closely to conventional poetic structures, but throws these conventions into relief as it presents the narrative from a woman’s point of view, a rare occurrence for poetry of this period. Who wrote it, for whom and why, are questions about which we can speculate, but never ultimately answer–the poem itself gives us few clues. Yet the poem has had a remarkable shelf-life; in subsequent centuries the poem has continued to be noticed, read, and debated, as a small but significant artefact from fifteenth-century England. This book examines how fifteenth-century English social conventions impact upon gender relations in The Assembly of Ladies. By drawing on contemporary (and clearly influential) texts from the fifteenth century as a comparison, Marshall shows how The Assembly of Ladies has integrated social conventions into its themes and structure, elevating for the reader the ways that social and literary conventions impact on women in the production and consumption of literature.

This study illuminates the female voice as a means of signalling resistance to tyranny in early Stuart literature and discourse.

The female voice plays a more central role in Sufi ritual, especially in the singing of devotional poetry, than in almost any other area of Muslim culture. Female singers perform sufiana-kalam, or mystical poetry, at Sufi shrines and in concerts, folk festivals, and domestic life, while male singers assume the female voice when singing the myths of heroines in qawwali and sufiana-kalam. Yet, despite the centrality of the female voice in Sufi practice throughout South Asia and the Middle East, it has received little scholarly attention and is largely unknown in the West. This book presents the first in-depth study of the female voice in Sufi practice in the subcontinent of Pakistan and India. Shemeem Burney Abbas investigates the rituals at the Sufi shrines and looks at women's participation in them, as well as male performers' use of the female voice. The strengths of the book are her use of interviews with both prominent and grassroots female and male musicians and her transliteration of audio- and videotaped performances. Through them, she draws vital connections between oral culture and the written Sufi poetry that the musicians sing for their audiences. This research clarifies why the female voice is so important in Sufi practice and underscores the many contributions of women to Sufism and its rituals.