How do we inhabit the spaces of the world? It is through our bodies, our physical selves, which constitute our presence, allowing us to hear and to witness, and through our voices, which constitute our involvement and our creativity. If we are not
Subjected and Rejected
Methods for Historians Attending to the Voices of the Past
E. P. Thompson … quotes [his sources] generously, providing readers with glimpses of the voices of a working class in the making. These quotations, the spelling often idiosyncratic, sometimes phonetic, are such that readers can almost hear these
Or, On the Possibility of a Christian Reading of the Psalms
‘Speech’, Not ‘Narrative’ ‘ Roma locuta, causa finita. ’ Who is speaking in the Psalms? The decisive point of departure lies with the voices in the Psalter. In classical Old Testament exegesis, the Psalter is generally seen as ‘Israel's answer’ to the
A Christian Perspective
the greatest threat to realising God's voice in the twenty-first century. The second is that we should approach issues of social change not as meek outsiders who are witnessing the erosion of our values by dominant tyrants, but rather as co-authors of
Controlling Children’s Comics under Franco
the industry during the first two decades of the dictatorship, it is hard to imagine the subsequent evolution of the vibrant and cutting-edge publications of the 1960s and 1970s, whose dissenting voices were instrumental in the country’s eventual
Setting the Jungle Books
Bringing the jungle to book, in the case of Kipling’s Jungle Books, involves representing it by the book, according to an organic, hierarchical division of the space. We first meet the toddler Mowgli when he has just learnt to walk, so initially he must be spoken for, but the narrative then skips ‘ten or eleven whole years’ (43), by which time Mowgli has grown into his voice and the central discursive space of the jungle, that of the ‘Free People’. Around this space are organised peripheral sites and inhabitants which serve to establish and maintain its legalised centrality.
Political philosophy has been under the sway of a certain picture since Rawls’s A Theory of Justice was published in 1971. This picture combines the idea that the problem of justice should be approached from the direction of ideal normative theory, and that there are some anchoring ideas that secure the justificatory role of a hypothetical agreement. I think this picture and the hold it has over political philosophy is beginning to fragment. This fragmentation I think is most evident in the skepticism that has become a routine response to the Kantian idea that ‘we’ can ‘discover’ the terms of an agreement that has both a categorical force and a universal scope. But as the picture fragments we are still left with the framework and vocabulary of Rawls’s difficult and elaborate theory. The major difficulty confronting the Rawlsian project (the problem of pluralism as I will argue below) is itself defined in terms of Rawls’s conceptual language. And this serves only to obscure the real challenge and keep us ‘bewitched’ by Rawls’s narrow way of seeing issues. In being bewitched in this way we do not see that the problem of pluralism confronts Rawls’s project as a whole, rather than requiring adjustments and accommodations.
This article explores the existential status of ten to fourteen year old boys through a full time, research council funded study of young masculinity and voice. Drawing on the ideas of writers who have suggested this period can be a melancholic one, the article interprets qualitative data derived from boy singers and “peer audience” groups in schools. It is found that the voice does contribute to existential difficulties for boys concerned as much about being “not child” as “not girl” but unable to attain adult masculinity. The period is one of great cultural difficulty for young males and many avoid the issues. Yet the boys who enjoyed using their voices were the less prone to melancholia.
Narrating and Temporalizing the Post–Civil War Era through a Monument
sentiments, and secret meanings where opaque and faded pictures of the past mix and blur with present and future dreams and anticipations. The First Story: “Eyes Shut, Muted Voices” Thanasis Kiousis is a retired Army general living in the community with his
Sound, Citizenship, and Disruptive Representations of Migration
Introduction “And the phonograph is standing on a chair in the road and in a moment a canned voice will be screeching a poison song from the time of the Turkish occupation.” I start with some travel writing. American author Henry Miller