Voice Inside

Seventeen-year-old Luke's older sister, Pat, has always been his moral compass, like a voice inside his head, every time he has a decision to make. So when Pat disappears on a tiny island off the coast of Honduras and the authorities claim she's drowned - despite the fact that they can't produce a body - Luke heads to Honduras to find her because he knows something the authorities don't. From the moment of her disappearance, Pat's voice has become real, guiding him to Utila, where she had accepted a summer internship to study whale sharks. Once there, he meets several characters who describe his sister as a very different girl from the one knows. Does someone have a motive for wanting her dead? Determined to get to the bottom of Pat's disappearance, Luke risks everything, including his own life, to find the answer.

Our inner voice is a powerful compass that helps us navigate the world. At its worst it can seem like a demoralising critic, hellbent on sabotaging our potential; but if it is positively harnessed, it will become an inspiring coach and lifelong guide. In this book, psychology professor Ethan Kross brings more than 20 years of research to demystify the voice inside our head. Weaving cutting-edge science with compelling true stories, he shares powerful but simple tools to make your brain's musings work for you.

Finding the Voice Inside invites women to name, honor and explore their female experience as it differs from male experience. Doing this work in a group and hearing themselves and others read aloud what's been written, women re-awaken to what they don't always know that they know. Doing these exercises alone can continue the tradition of diary, journal and letter writing that makes up our knowledge of women's lives throughout history. In their effort to balance the male-constructed view of the world, women must first recreate the images, symbols, metaphors and truths of their own lives, as women.

A fast-paced mystery, The Voice inside My Head is expected to be a commercial success and a hit with teens. Seventeen-year-old Luke's older sister, Pat, has always been his moral compass, like a voice inside his head, every time he has a decision to make. So when Pat disappears on a tiny island off the coast of Honduras and the authorities claim she's drowned - despite the fact that they can't produce a body - Luke heads to Honduras to find her because he knows something the authorities don't. From the moment of her disappearance, Pat's voice has become real, guiding him to Utila, where she had accepted a summer internship to study whale sharks. Once there, he meets several characters who describe his sister as a very different girl from the one knows. Does someone have a motive for wanting her dead? Determined to get to the bottom of Pat's disappearance, Luke risks everything, including his own life, to find the answer.

Isabella is a spirited girl who enjoys shouting out her thoughts, ideas and feelings. In fact, she loves using her loud voice so much; it’s earned her the nickname “Decibella!” Young readers will be entertained as they see how Isabella learns the “five volumes” of voice and discovers that different situations require a different tone. This book shows kids how and when to use their five voices – whisper, 6-inch, table-talk, strong speaker and outside. It is part of the Communicate with Confidence series, which emphasizes skills to help young children be better communicators.

Taking readers through the nature and realities of employee voice across the Global South, this book identifies the significance and effects of contexts, cultures, web and social media, and dissimilarity of institutional factors in enhancing employee voice or promoting silence. It addresses general issues affecting employee voice across the Global South to give readers an understanding of employee relations that is country-specific. Readers will also have an understanding of the unique nature of employee voice in thirteen countries – thus broadening the readers’ understanding of the subject. Covering employee voice in different countries of Africa, Asia and South America, each chapter draws out the unique and diverse nature of employee voice in each country. The chapters discuss issues ranging from culture, activities of trade union, institutional factors, web and social media, social and organisational justice and their effects of employee voice. This book provides an invaluable resource for students and researchers of human resources and international business. It will also be of great interest to HRM practitioners, policymakers and business managers across the globe.

This book argues that the voice is a crucial link between bodies, thought, and mortal identity in the tragedies of Aeschylus. It first presents conceptions of the voice in Greek poetry and philosophy and then shows how Aeschylus' tragedies gain meaning from the rubric and performance of voice.

Giving and Taking Voice in Learning Disabled Theatre offers unique insight into the question of ‘voice’ in learning disabled theatre and what is gained and lost in making performance. It is grounded in the author's 18 years of making theatre with Different Light Theatre company in Christchurch, New Zealand, and includes contributions from the artists themselves. This book draws on an extensive archive of performer interviews, recordings of rehearsal processes, and informal logs of travelling together and sharing experience. These accounts engage with the practical aesthetics of theatre-making as well as their much wider ethical and political implications, relevant to any collaborative process seeking to represent the under- or un-represented. Giving and Taking Voice in Learning Disabled Theatre asks how care and support can be tempered with artistic challenge and rigour and presents a case for how listening learning disabled artists to speech encourages attunement to indigenous knowledge and the cries of the planet in the current socio-ecological crisis. This is a vital and valuable book for anyone interested in learning disabled theatre, either as a performer, director, dramaturg, critic, or spectator.