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Lorraine Yeung

This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims both to address the lacuna, and facilitate dialogue between the two disciplines.

Film Studies
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Posthuman sound ecologies in the neo-avant-garde
Jesper Olsson

human–animal connection is mediated by a famous comic, or the strange intersensorial composition ‘Fur Music’ by Nelson Howe (1971) (Austin and Kahn, 2011 : 295–7). Similarly, an account of the sound poetry scene would have to contend that the genre thrived on energies and meanings engendered when the human voice was challenged by something else, such as animal cries or the noise of technologies. Consequently, most genealogies of the genre’s postwar fate find an important crossroad in Antonin Artaud’s 1947 recording for French Public Radio of Pour en finir avec le

in Tuning in to the neo-avant-garde
Christian Marclay’s Guitar Drag
Ming-Yuen S. Ma

to the human voice, the process through which sound is produced by an electric guitar is markedly different from 91 92 There is no soundtrack vocals by Holiday and others. The writer on UbuWeb is not alone. Others, including Les Paul, who are invested in the history and development of this instrument, also made connections between its sound and the human voice.78 However, the way the Fender Stratocastor produces sound in Marclay’s video installation – in other words, how he plays it – is markedly different from the mechanics of vocality. The soundtrack of

in There is no soundtrack
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Eye witnesses
Ida Milne

at the time and, most significantly, they add the human voice to impersonal records like death statistics and news reports. Historians drawing together sources for looking at influenza in other geographic regions have made extensive use of memories of the disease. Two key oral histories of the pandemic have come from the southern hemisphere: Geoffrey Rice’s Black November: The 1918 Influenza Pandemic in New Zealand, which first appeared in 1988, and Howard Phillip’s Black October. The Impact of the Spanish Influenza Epidemic of 1918 on South Africa, which was

in Stacking the coffins
Open Access (free)
Association and distinction in politics and religion
Rodney Barker

Leaders exemplify the tension between association and distinction, cultivating an identity which draws on a wider community or character, but which is intensified in order to achieve distinction.

Religious leaders claim the ultimate association, but as with all other elements of identity the expression of identity is composed of specific human actions and artefacts, so that the divine, like the secular can speak only with human voices.

Elites cultivate identity both towards their subjects and supporters and for their own enhancement, and whilst this does not distinguish them from other people, the intensity with which they do so does. This cultivation differs between unmobilised and mobilised societies.

The difference between the various identities of a person can be greatest within an elite which has resources of both power and privacy.

in Cultivating political and public identity
Between theatre as cultural form and true media theatre
Wolfgang Ernst

technological Eigenzeit of the tape recorder stems a techno-traumatic affect. In terms of phenomenological experience, the iterability of the human voice enabled by recording media, even beyond the death of the body from which it issued, can be described as a shock. Such dramatic temporality originates from the medium itself as its real message (in McLuhan's sense), or more precisely, from the ‘real’ of the acoustic signal as a technological message which, in human cognition, is experienced mostly subliminally. In the case of Krapp's Last Tape , Krapp's disembodied vocal

in Beckett and media
Open Access (free)
Old things with new things to say
James Paz

and place, I have demonstrated how swords, ships, pens, boxes, books, bodies, trees, crosses, columns and so on mesh meaning with matter and with acts of making and breaking. These things do not simply carry human voices across the ages but change them, sometimes reshaping or even subverting the messages intended by their original makers. By assembling words, ideas, bodies, materials and technologies together into a distinct whole, a þing develops a means of communicating independent of, but not entirely divorced from, the human voice. The concept of voice emerges

in Nonhuman voices in Anglo-Saxon literature and material culture
Sound, voice and intermediality
Daniel Gilfillan

critically reflect on our own position within the world. The second, Anchored in Trance (1996) by German-Austrian poet and radio artist Peter Pessl, examines relationships between human voice/speech and the acoustics of non-human agents (animals, plants, rocks, landscapes, etc.). Pessl uses the psychoactive plant Atropa belladonna to induce a trance-like vocal state to accompany the poem past the traditional boundaries of spoken recitation and into deeper understandings about the performativity and liveness of language. The third, and final, example is a

in Tuning in to the neo-avant-garde
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Ruth Evans

’s schema exerted an enormous influence on later grammatical, rhetorical and music theory. 23 It also contributed significantly to the construction of race before race, positing and assigning essential qualities to human voices, so as to create, as Heng says, ‘a hierarchy of peoples for differential treatment’. For Priscian, an articulate sound is one that is

in Medieval literary voices
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Patsy Stoneman

‘express and take responsibility for judgment’ (Gilligan: 507). She may use current, common modes of analysis and speech, but she insists that women share in the creation of values. From Esther the outcast prostitute, who for Mary’s sake speaks as a ‘fighting mother’, to Molly the cherished daughter, who for Cynthia’s sake questions the word of the father, Elizabeth Gaskell’s women refuse to ‘suffer and be still’. Moved by human need, they claim a human voice to ‘bear witness to the truth’.

in Elizabeth Gaskell