This Double Voice

The Double Voice reassesses the notions of gender which have been used to analyze Renaissance literature. Rather than assuming that men and women write differently because of background, education, and culture, it tries to unsettle the connections between the sex of the author and the constructions of gender in texts, and to reconsider the prevalent determinist model of reading which tends to consign women writers to the private, domestic sphere and to render male negotiations of gender invisible and transparent.

This is a comprehensive collection of the late scholar’s groundbreaking work in feminist biblical interpretation, in English translation. The essays document Van Dijk-Hemmes’ development and show how her work relates to contemporary developments in feminist thinking. There is a Foreword by Mieke Bal, an in memoriam by Athalya Brenner, and an overview of van Dijk-Hemmes’ extensive output of books and articles completes the volume.

"The Double Voice" reassesses the notions of gender which have been used to analyze Renaissance literature. Rather than assuming that men and women write differently because of background, education and culture, it tries to unsettle the connections between the sex of the author and the constructions of gender in texts, and to reconsider the prevalent determinist model of reading which tends to consign women writers to the private, domestic sphere, and to render male negotiations of gender and sexuality invisible and transparent.

Written to save careers one voice at a time through scientifically proven methods and advice, this resource teaches people how to protect and improve one of their most valuable assets: their speaking voice. Simple explanations of vocal anatomy and up-to-date instruction for vocal injury prevention are accompanied by illustrations, photographs, and FAQs. An audio CD of easy-to-follow vocal-strengthening exercises--including Hum and Chew, Puppy Dog Whimper, Sirens, Lip Trills, and Tongue Twisters--is also included, along with information on breathing basics, vocal-cord vibration, and working with students who have medical complications such as asthma, acid reflux, or anxiety.

The main purpose of this book is to develop the simultaneous use of the voice while playing double bass. A significant number of works in the solo contemporary double bass repertoire (and also a small number of ensemble pieces) incorporate some sort of vocal technique, and this number is constantly growing. These pieces usually contain instructions for interpreting the vocal notation, but never has there been a guide or reference material for how to develop this technique and how to practice these works effectively. This book does NOT train the performer to be a professional opera singer or actor but rather provides only the most fundamental yet essential information required for performing this unique field of repertoire. What's inside: - Using the Voice as a Practice Aid - Vocal Tools and Techniques - Exercises and Etudes - Notation Examples In "Using the Voice as a Practice Aid," this book demonstrates how simple vocalizations can assist one's practice habits. This section also helps develop necessary coordination between using the voice and playing the instrument simultaneously. "Vocal Tools and Techniques" provides fundamental information regarding vocal techniques and methods for a non-vocally trained instrumentalist. This section also includes valuable information for preparing and performing solo double bass-voice repertoire. In "Exercises and Etudes," a series of studies in increasing difficulty divided into three categories (speaking, singing, and phonetics) is introduced to help build and prepare necessary techniques one might find in solo double bass-voice pieces. Finally, "Notation Examples" (also divided into the three aforementioned subsections) serves as a valuable tool not only for performers but also for composers. Short excerpts from several pieces in the repertoire are examined to showcase many ways in which the voice is notated in solo instrumental works.

Introduction: Personally speaking -- Baby talk -- Origins -- Emotion -- Language -- Sex and gender -- The voice in society -- The voice of leadership & persuasion -- Swan song.

The Double Voice reassesses the notions of gender which have been used to analyze Renaissance literature. Rather than assuming that men and women write differently because of background, education, and culture, it tries to unsettle the connections between the sex of the author and the constructions of gender in texts, and to reconsider the prevalent determinist model of reading which tends to consign women writers to the private, domestic sphere and to render male negotiations of gender invisible and transparent.

In Imitations of the Self Nicholas M. Williams reevaluates the poetry of Jiang Yan (444–505) as a summation of Six Dynasties poetics and as a model of multifarious self-representation in Chinese poetry.