Multivocality frames vocality as a way to investigate the voice in music, as a concept encompassing all the implications with which voice is inscribed-the negotiation of sound and Self, individual and culture, medium and meaning, ontology and embodiment. Like identity, vocality is fluid and constructed continually; even the most iconic of singers do not simply exercise a static voice throughout a lifetime. As 21st century singers habitually perform across styles, genres, cultural contexts, histories, and identities, the author suggests that they are not only performing in multiple vocalities, but more critically, they are performing multivocality-creating and recreating identity through the process of singing with many voices. Multivocality constitutes an effort toward a fuller understanding of how the singing voice figures in the negotiation of identity. Author Katherine Meizel recovers the idea of multivocality from its previously abstract treatment, and re-embodies it in the lived experiences of singers who work on and across the fluid borders of identity. Highlighting singers in vocal motion, Multivocality focuses on their transitions and transgressions across genre and gender boundaries, cultural borders, the lines between body and technology, between religious contexts, between found voices and lost ones.

The key idea of the book is that scientific and practical advances can be obtained if researchers working in traditions that have been assumed to be mutually incompatible make a real effort to engage in dialogue with each other, comparing and contrasting their understandings of a given phenomenon and how these different understandings can either complement or mutually elaborate on each other. This key idea applies to many fields, particularly in the social and behavioral sciences, as well as education and computer science. The book shows how we have achieved this by presenting our study of collaborative learning during the course of a four-year project. Through a series of five workshops involving dozens of researchers, the 37 editors and authors involved in this project studied and reported on collaborative learning, technology enhanced learning, and cooperative work. The authors share an interest in understanding group interactions, but approach this topic from a variety of traditional disciplinary homes and theoretical and methodological traditions. This allows the book to be of use to researchers in many different fields and with many different goals and agendas.

When analyzed in multilingual contexts, English is often treated as an entity that is separable from its linguistic environment. It is often the case, however, that multilinguals use English in hybrid and transcultural ways. This book explores how multilingual East Africans make use of English as a local resource in their everyday practices by examining a range of domains, including workplace conversation, beauty pageants, hip hop and advertising. Drawing on the Bakhtinian concept of multivocality, the author uses discourse analysis and ethnographic approaches to demonstrate the range of linguistic and cultural hybridity found across these domains, and to consider the constraints on hybridity in each context. By focusing on the cultural and linguistic bricolage in which English is often found, the book illustrates how multilinguals respond to the tension between local identification and dominant conceptualizations of English as a language for global communication.

Like artists, important writers defy unequivocal interpretations. Gao Xingjian, winner of the Nobel Prize in literature, is a cosmopolitan writer, deeply rooted in the Chinese past while influenced by paragons of Western Modernity. The present volume is less interested in a general discussion on the multitude of aspects in Gao's works and even less in controversies concerning their aesthetic value than in obtaining a response to the crucial issues of freedom and fate from a clearly defined angle. The very nature of the answer to the question of freedom and fate within Gao Xingjian's works can be called a polyphonic one: there are affirmative as well as skeptical voices. But polyphony, as embodied by Gao, is an even more multifaceted phenomenon. Most important for our contention is the fact that Gao Xingjian's aesthetic experience embodies prose, theater, painting, and film. Taken together, they form a Gesamtkunstwerk whose diversity of voices characterizes every single one of them.

Using archaeological case studies from around the world, this volume evaluates the implications of providing alternative interpretations of the past. These cases also examine if multivocality is relevant to local residents and non-Anglo-American archaeologists and if the close examination of alternative interpretations can contribute to a deeper understanding of subjectivity and objectivity of archaeological interpretation.

Readers of Dialogue will be able to frame different influential conceptions of dialogue, establish the concepts' history in communication studies, and trace both common and unique threads that connect different theorists. This volume is recommended for graduate and advanced undergraduate courses in Communication Theory, Interpersonal Communication, and Organizational Communication

In this new and refreshing approach to the story, Ben Zvi starts with the premise that Jonah, like most books, was written to be read. He therefore concentrates on intended and unintended readership(s) of Jonah and the network of messages that they were likely to derive through their reading and rereading. He starts with the historical and social matrix of the production and reading of the book in antiquity, analyzes its self-critical approach and its metaprophetic character as a comment on the genre of prophetic books and on prophets. How does the historical fact of Nineveh's destruction acually shape the reading? Or the perception of Jonah as a runaway slave?Ben Zvi demonstrates the malleability of interpretation of the Book of Jonah and its limitations, as attested in different communities of readers. He asks why certain messages are easily accepted by particular historical communities, whereas others are not raised at all.

Critical approaches to public archaeology have been in use since the 1980s, however only recently have archaeologists begun using critical theory in conjunction with public archaeology to challenge dominant narratives of the past. This volume brings together current work on the theory and practice of critical public archaeology from Europe and the United States to illustrate the ways that implementing critical approaches can introduce new understandings of the past and reveal new insights on the present. Contributors to this volume explore public perceptions of museum interpretations as well as public archaeology projects related to changing perceptions of immigration, the working classes, and race.

The author explores the cognitive basis of symbolization, and symbolization as a social practice. from the London School of Economics Monographs on Social Anthropology, this book is intended for students of anthropology and development studies.