Journal articles: 'Voice of Place'

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Wyatt, David. "Voice and Place." Western American Literature 34, no. 2 (1999): 170–73. http://dx.doi.org/10.1353/wal.1999.0074.

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Dujartin, J. Antony, B. Vinoth Kumar, and K. Kamala Kanan E. Mukesh Mr P. Devendran. "Autonomous Voice Control Pick and Place Rover." International Journal of Trend in Scientific Research and Development Volume-2, Issue-3 (April 30, 2018): 2427–31. http://dx.doi.org/10.31142/ijtsrd12777.

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Kambuziya, Aliyeh Kord-e. Zafaranlu, Pegah Aryaei, and Sahar Bahrami Khorshid. "An Optimality Theoretic Account of Place and Voice Assimilation in Bushehri Dialects." JOURNAL OF ADVANCES IN LINGUISTICS 6, no. 3 (June 15, 2016): 1000–1007. http://dx.doi.org/10.24297/jal.v6i3.4662.

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This paper intends to illustrate an analysis about one of the Common Phonological Processes in some regional varieties of Bushehri: assimilation, in the framework of Optimality Theory (McCarthy 2008). Bushehr Province with an area of 23167 square kilometers is located in south Iran. Speakers in this province can be divided in two general branches: northern and southern branches. Speakers in northern branch speak a dialect like Luri. Speakers in southern branch speak dialects that are like what is common in Fars Province. One of the taxonomy of assimilation is related to the influence of the sound features on the process of assimilation. This type of classification of assimilation can be according to two major parameters, place and voice. In Bushehri dialects there is a place assimilation in acuteness and graveness features. Hyman (1975 :31) argues that both consonants and vowels differ in this acoustic property of graveness/ acuteness. In Bushehri variteis, the back round vowel [u] before [+acute] consonants changes to front unround vowel [i] that has [+acute] feature. Also in Bushehri dialects when voicless palatal [c] placed before a voiced consonant, or when voicless alveolar [s] placed before a voiced consonant, they take voice feature from the voiced consonant and change to their adjacent pair [z] and [Éˆ]. Assimilation between adjacent segments is driven by the family of agreement constraints: AGREE [F]. Ranking AGREE[x] above IDENT[x] guarantees assimilation, in the other word the final ranking is as follow: AGREE [x] >> IDENT [x].

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Casey, Edward. "Limit and Edge, Voice and Place." Radical Philosophy Review 12, no. 1 (2009): 241–48. http://dx.doi.org/10.5840/radphilrev2009121/215.

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Santos, Thadeu C. "Voz e arquivo: Eleonora Fabião, Ricardo Chacal e Ricardo Domeneck." Elyra, no. 18 (2021): 247–63. http://dx.doi.org/10.21747/2182-8954/ely18a14.

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The voice in contact with the archive lends the sound of poetry to the text. Thus the con-sumption of the archive by the voice does not recognize the limits between the fact and the poetic. At the same time that such a loan takes place, an inadvertent borrowing also takes place from it. The voice takes possession of the archive to put it back on stage. It transforms graphic materiality into sound materiality. The voice steals their dictates just for an instant. Soon after, the voice refuses its possession and moves on. There are the voices of Eleonora Fabião, Ricardo Chacal and Ricardo Domeneck. It is from these dynamics of their reading that we observe how the voice offers its vibration to listening. So the poem it is and it is not simply information. It is and it is not an exercise of authorship. In this game between archive and repertoire (Taylor 2013), the poem is a communion that, present from body to body, overlaps temporalities. It makes the past resonate within the present. Makes the archive a mill of historical time.

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Knyazev, Sergey V. "On the interaction of phonetic parameters implementing the voiced / voiceless phonological opposition in Standard Modern Russian." Sibirskiy filologicheskiy zhurnal, no. 4 (2021): 137–53. http://dx.doi.org/10.17223/18137083/77/11.

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The paper reports new data obtained in the experimental study of voice coarticulation of voiced and voiceless obstruents adjacent to sonorant depending on the place and manner of articulation of these consonants in Standard Modern Russian. The experimental results revealed the voice coarticulation of the obstruent in word-internal clusters of [sonorant + obstruent + sonorant] coronal consonants, possibly due to the preceding homorganic nasal consonant. In the case of sonorants [nasal + voiceless stop + vibrant] that are not identical in place and manner of articulation, the closure part of the dental stop becomes voiced throughout, with this phonation type accommodation not leading, nevertheless, to the voiced / voiceless phoneme neutralization since the contrast in question is still maintained by phonetic parameters other than voice (phonation itself). These are closure duration, burst duration, and relative overall intensity. On the contrary, in the case of dental sonorants [nasal + voiceless stop + nasal] being identical in place and manner of articulation, the contrast in burst duration is eliminated since no burst of dental stop is found in the position before homorganic nasal, with the closure part of the stop not acquiring voicing to prevent the voiced / voiceless phoneme neutralization. In conclusion, it is argued that in Standard Modern Russian, the phonetic parameter [relative overall intensity] is less significant in the hierarchical structure of distinctive phonological feature than [closure voicing] and [burst duration] ones since it cannot serve as the only parameter distinguishing the voiced and voiceless obstruents in the intersonorant position.

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Filimonova, O. F. "Empty Place: the Voice of Social Reality." Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 18, no. 3 (2018): 292–97. http://dx.doi.org/10.18500/1819-7671-2018-18-3-292-297.

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Festa, Thomas. "Place, Source, and Voice in Paradise Lost." English Language Notes 44, no. 1 (March 1, 2006): 57–66. http://dx.doi.org/10.1215/00138282-44.1.57.

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Kitto, Svetlana. "Place, Writing, and Voice in Oral History." Oral History Review 40, no. 2 (July 1, 2013): 410–12. http://dx.doi.org/10.1093/ohr/oht089.

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Folch-Serra, M. "Place, Voice, Space: Mikhail Bakhtin's Dialogical Landscape." Environment and Planning D: Society and Space 8, no. 3 (September 1990): 255–74. http://dx.doi.org/10.1068/d080255.

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van Kraayenoord, Christina E. "Finding a Voice and Finding a Place." International Journal of Disability, Development and Education 52, no. 3 (September 2005): 253–57. http://dx.doi.org/10.1080/10349120500252890.

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Appadurai, Arjun. "Introduction: Place and Voice in Anthropological Theory." Cultural Anthropology 3, no. 1 (February 1988): 16–20. http://dx.doi.org/10.1525/can.1988.3.1.02a00020.

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Huszthy, Bálint. "Italian preconsonantal s-voicing is not regressive voice assimilation." Linguistic Review 38, no. 1 (February 1, 2021): 33–63. http://dx.doi.org/10.1515/tlr-2021-2058.

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Abstract In the literature of laryngeal phonology Romance languages are considered voice languages, exhibiting a binary distinction between a voiced lenis and a voiceless fortis set of obstruents. Voice languages are characterised by regressive voice assimilation (RVA) due to the phonological activity of [voice]. Italian manifests a process similar to RVA, called preconsonantal s-voicing; that is, /s/ becomes voiced before voiced consonants. Since /sC/ is the only obstruent cluster in Italian phonotactics, Italian seems to fulfil the requirements for being a prototypical voice language. However, this paper argues that s-voicing is not an instance of RVA, at least from a synchronic phonological point of view. RVA and Italian preconsonantal s-voicing essentially differ at every level of a synchronic comparison: in the input, in the trigger, in the domain of application and in the frequency of the processes. In Italian only sibilant fricatives may undergo voicing before consonants; however, other obstruents (which mostly appear in loanwords) do not assimilate for [voice]. Italian preconsonantal s-voicing does not take place at the word boundary or at morpheme boundaries, and it seems to be optional is new loanwords; thus, it is not a postlexical process like RVA. The synchronic differences between the two phenomena are analysed in Classical Optimality Theory. The laryngeal system of Italian prefers faithfulness over markedness, which means that non-/sC/ obstruent clusters surface with underlying voice values; while the voicing of /s/ before voiced consonants is seen as phonetic and not phonological.

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Hutchison, Emily J. "Knowing One’s Place." Medieval History Journal 20, no. 1 (March 21, 2017): 38–88. http://dx.doi.org/10.1177/0971945816665982.

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Between April and July 1413, a large group of Parisians led the violent Cabochien Uprising. This revolt has been positioned primarily as an extension of civil war politics between the Burgundians and the Armagnacs. I argue that it was far more than that; it was a meaningful example of political resistance and an extraordinary event that nonetheless borrowed from everyday practices of civil autonomy and agency. In drawing from but moving beyond the civil war narrative, I examine the importance of urban spatial tactics, voice and violence in this rebellion. This approach enables us to discern what opportunities were available to early fifteenth-century Parisians to directly challenge their exclusion from politics, and to carve out a place of importance for their voices. Moreover, the same source material for the rebellion also illuminates the established systems, the spaces and the habits that empowered Parisians in the day-to-day. It was these conditions that provided the scaffolding for their rebellion, and they reveal strong tension between the king’s sovereign authority and his subjects’ autonomy. These complicated dynamics limited the king’s actual power in the streets, and suggest that Parisians could lay claim to more independence than we have previous considered.

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Knyazev, Sergey V. "Three Different Strategies of Voice Coarticulation in Modern Standard Russian." Slovene 10, no. 2 (2021): 297–320. http://dx.doi.org/10.31168/2305-6754.2021.10.2.12.

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The paper reports some new data based on an experimental study in voice coarticulation of voiced and voiceless obstruents adjacent to sonorants as a function of place and manner of articulation of these consonants in Standard Modern Russian. The results of the experiment based on the 384 tokens collected from 24 participants confirm once again that in word internal clusters of [sonorant + obstruent + sonorant] coronal consonants the voice coarticulation of the obstruent is observed; it may be determined by the surrounding sonorants. The coarticulation in question may be realized in three different ways. In the case of sonorants not identical in place and manner of articulation [dental nasal + dental voiceless stop + alveolar vibrant] the closure part of the dental stop becomes voiced throughout, but this accommodation in phonation type does not lead nevertheless to the voiced/voiceless phonemes’ neutralization since the the contrast in question is still maintained by means of phonetic parameters other than voice (phonation itself), such as closure duration, burst duration (being significantly higher in underlyingly voiceless stops) and relative overall intensity (being noticeably higher in underlyingly voiced obstruents). On the other hand, in the case of dental sonorants identical in place and manner of articulation [nasal + voiceless stop + nasal], where the maximum effect of coarticulation for an homorganic stop was expected, the contrast in burst duration is eliminated since no burst of dental stop is found in the position before an homorganic nasal, but the closure part of the stop does not acquire voicing in order to prevent the voiced/voiceless phonemes’ neutralization. Finally, in the case of [dental nasal + dental voiceless stop + dentalveolar lateral] consonantal clusters the closure part of the dental stop is voiced throughout and the increased burst duration leads to (generally complete) devoicing of the following lateral. The direction of coarticulation in [ntlj] clusters is progressive, it is carried out gradually, left to right.

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Telotte, J. P. "The Displaced Voice of "In a Lonely Place"." South Atlantic Review 54, no. 1 (January 1989): 1. http://dx.doi.org/10.2307/3200061.

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Warren, Paul, and William Marslen-Wilson. "Cues to lexical choice: Discriminating place and voice." Perception & Psychophysics 43, no. 1 (January 1988): 21–30. http://dx.doi.org/10.3758/bf03208969.

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Coupland, Nikolas. "Voice, place and genre in popular song performance1." Journal of Sociolinguistics 15, no. 5 (November 2011): 573–602. http://dx.doi.org/10.1111/j.1467-9841.2011.00514.x.

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Pradhan, Alisha, and Amanda Lazar. "Voice Technologies to Support Aging in Place: Opportunities and Challenges." Innovation in Aging 4, Supplement_1 (December 1, 2020): 317–18. http://dx.doi.org/10.1093/geroni/igaa057.1016.

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Abstract Technology to support aging in place has been a topic of interest. Research indicates that older adults are increasingly using commercially available voice assistants in smart speakers. These devices enable non-visual interaction that does not require extensive expertise with traditional mobile or desktop computers, thus offering new possibilities of access to digital technology. We conducted two different studies with individuals aged 65 years old or above—a three week smart speaker deployment study with individuals who did not use computing devices regularly and a workshop on customizing internet of things technology with tech savvy individuals. Our findings indicate specific ways that these voice technologies might support aging in place, including ease of use and due to their not being identified with aging-specific technologies. We observed that participants consistently used their voice agent for finding online information, particularly health-related, emphasizing the need to revisit concerns about credibility of information with this new interaction medium. And, although features to support memory (e.g., setting timers, reminders) were initially perceived as useful, the actual usage was unexpectedly low due to reliability concerns. Our work provides a basis to understand older adults’ perceptions and usage of current voice technologies. We also identify opportunities for customizing voice technologies to better support aging in place.

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Benkí, José R. "Perceptual interactions among voice onset time, second formant onset, voice, and place of articulation." Journal of the Acoustical Society of America 102, no. 5 (November 1997): 3095. http://dx.doi.org/10.1121/1.420479.

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Tollance, Pascale. "Voices from nowhere." English Text Construction 1, no. 1 (March 7, 2008): 141–53. http://dx.doi.org/10.1075/etc.1.1.11tol.

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Graham Swift’s oeuvre reflects a fascination with voice which appears most clearly in two of his novels, Waterland and Last Orders, but in seemingly diametrically opposed ways. Whilst Waterland foregrounds the act of narration through a voluble and chatty narrator, Last Orders is deprived of any central narrating agency and consists of a collage of different voices. In spite of this, in both novels, voice is a factor of instability as it no longer speaks with authority but proceeds erratically and repetitively, constantly echoing other voices. Voice unsettles the narrative by imposing multiplicity and fragmentation against the fantasy of a stable origin and a single meaning. But more importantly, our perception of the novel is transformed once we start ‘hearing voices’ instead of (or as well as) characters: by its ability to detach words from any clear origin, place or time, Swift turns those who speak into ghosts whose ‘presence’ is a mere illusion. Beyond similarities, the two novels also help us reflect on a diverging use of voice: in Waterland the narrator’s multiple voices reflect a sense of loss and alienation coupled with the impression that there is no getting away from oneself; by contrast, in Last Orders, the echoes which form themselves through the various voices have a liberating effect, allowing the characters to exist in a realm where they can be more than themselves.

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Watkins, Heather, and Richard Pak. "Investigating User Perceptions and Stereotypic Responses to Gender and Age of Voice Assistants." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 64, no. 1 (December 2020): 1800–1804. http://dx.doi.org/10.1177/1071181320641434.

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Technologies such as voice assistants can aid older adults aging in place by assisting with basic home and health tasks in daily routines. However, currently available voice assistants have a common design-they are vastly represented as young and female. Humans may apply stereotypes to human-computer interactions similarly to human-human interactions. When stereotypes are activated, users may lose trust or confidence in the abilities of the device, or even stop using the device all together. The two purposes of this study are to 1) investigate if users can detect the age and gender of voice assistants, and 2) understand the extent to which a voice assistant’s perceived gender, age, and reliability elicit stereotypic responses. A series of health-related vignettes will be utilized to assess perceptions of and stereotypic responses toward voice assistants in younger and older adults. In line with previous research examining healthcare agents (Pak et al., 2014), we hypothesize that voice assistants with younger male voices will be rated as more trustworthy and that high reliability will have a positive impact on ratings of trust.

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Yellowhorse, Sandra. "My Tongue is a Mountain: Land, Belonging and the Politics of Voice." Genealogy 4, no. 4 (November 24, 2020): 112. http://dx.doi.org/10.3390/genealogy4040112.

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Indigenous story is about place and our orientation to the place(s) we live through and in. This essay is about Diné (Navajo) identity and its entanglements with the authority of words and the politics of voice within the academy. It is about how voice or narrative are political acts that ground Indigenous peoples in land and territory. In Diné communities, there are ongoing discussions regarding the politics of authority and representation in the erasure of Indigenous voices in academic spaces. Such academic erasure has ripple effects into the ongoing contestation of land and belonging. These ripple effects fuel identity politics among Diné people on the community level. I argue that Diné people themselves are erased and the everyday narrations of our realities and experiences through these normalized academic processes. In addressing those academic processes, I draw attention to another framework for identity politics that encourages and supports not only our voices as Diné people but upholds our intellectual sovereignty and claims to land. I engage narrative to bring forward an understanding that our relationships to words and story extend beyond our tongues.

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Hardy, Antoine. "Home Is Where the Ok Is? Early Okayplayer Message Boards & an Ethos of Acknowledgment." Social Media + Society 8, no. 3 (July 2022): 205630512211175. http://dx.doi.org/10.1177/20563051221117570.

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In this essay, the author considers the online community of Okayplayer (OKP) as a pivotal progenitor in the development of a Black digital ethos. In particular, the author situates and interrogates Okayplayer as a “dwelling space” where self-identified Black identities developed digital voices and a communal ethic of acknowledgment. Indeed, 5 years before Facebook, and 7 years before Twitter; Okayplayer was a social media precursor—made for and by black folks. Prior to social media era, the OKP message boards were the rare space where black digital voices could be heard and acknowledged by peers and fellow recording artists such as Erykah Badu—a digital home or dwelling space. In this essay, I sample and extend Hyde’s redefinition of ethos as “home”; to online communities of color. Hence, this essay retrospectively examines OKP’s digital ethos as a cultural communal co-production where “discourse is used to transform space and time into dwelling places where people can deliberate about and know together some matter of interest” (p. xiii). By viewing OKP as discursive site, the paper interrogates the function of rhetorical voice in establishing dwelling spaces. My critical lens is informed by Mitra and Watts advocacy of marginalized digital voice. Voice is actualized as an architectural event, only when it is acknowledged. In relation to OKP, Watts contends that historically, Black voices that find acknowledgment develop a dwelling place based on ” a sort of collaboration..as a kind of “magic” by a communal will.

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Stoddart-Morrison, Remonia. "My Sister’s Voice: Guiding My Hope as a Teacher and Teacher Educator for Teaching and Learning." LEARNing Landscapes 11, no. 2 (July 4, 2018): 355–63. http://dx.doi.org/10.36510/learnland.v11i2.968.

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Schools are relational places where the meeting of characters, stories, experiences, and understandings move about each other daily. In the busyness of school life, time is usually not taken to listen to, observe, and share the stories and experiences of others; to shift from a condition of moving about to a place where we are walking alongside. The narratives provided here are reflections on my experiences of my time in school as student, teacher, and administrator. I write these to honor my sister’s voice and the many voices that fueled my hope as a teacher and teacher educator for teaching and learning.

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Barnawi, Osman. "Finding a Place for Critical Thinking and Self-voice in College English as a Foreign Language Writing Classrooms." English Language Teaching 4, no. 2 (June 1, 2011): 190. http://dx.doi.org/10.5539/elt.v4n2p190.

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Although the concepts of critical thinking and self-voice have been extensively discussed in a second language writing, little attention has been given, on the pedagogical level, to critical thinking and self-voice in college EFL writing instruction. To fill such a void, this paper attempts to propose some pedagogical tasks namely: persuasive writing tasks, draft workshops one-on-one mentoring approaches for finding a place for critical thinking and self-voice in EFL classrooms. In doing so, this paper provides the operational definitions of critical thinking and self-voice concepts. It then discusses how these two concepts are closely related to complement EFL writing learning. In what follows, it presents the rationale for finding a place for critical thinking and self-voice in EFL writing. It then touches on some pedagogical practices for developing critical thinking and self-voice in classrooms. Lastly, it addresses some challenges related to implementing critical thinking and self-voice tasks in EFL classrooms.

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Kolber, David. "Hildegard Westerkamp's Kits Beach Soundwalk: shifting perspectives in real world music." Organised Sound 7, no. 1 (April 2002): 41–43. http://dx.doi.org/10.1017/s1355771802001061.

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Hildegard Westerkamp's Kits Beach Soundwalk challenges us as listeners to re-evaluate our acoustic soundscape. Juxtaposing the sounds of barnacles with the noise of the city, Westerkamp reveals an unbalanced world in which individual voices are silenced. Kits Beach Soundwalk allows Westerkamp to help rectify that imbalance. It provides her with the opportunity to create a place in which a listener can take pleasure in simply being. She reveals the metaphors, the hidden entrances, within sounds that take us into other spaces. A listener travels with Westerkamp into worlds of tiny sounds and tiny voices, dreams, and places of fantasy and the imagination. She challenges us as listeners to re-establish our place within the world around us. By designing the piece to reach the audience on a number of levels - intellectual, physiological, metaphorical - Westerkamp effectively promotes the changing of listening habits; the distancing of individuals from oppressive sonic environments; and the regaining of an individual's inner voice.

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Eshghi, Marziye, Mohammad Mehdi Alemi, and David J. Zajac. "Aerodynamic factors for place-dependent voice onset time differences." Journal of the Acoustical Society of America 138, no. 3 (September 2015): 1777–78. http://dx.doi.org/10.1121/1.4933626.

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Newell, Chris, and Alistair Edwards. "Place, authenticity time: a framework for synthetic voice acting." International Journal of Performance Arts and Digital Media 4, no. 2-3 (May 2008): 155–80. http://dx.doi.org/10.1386/padm.4.2_3.155_1.

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Dwyer, Tessa. "Changing accents: Place, voice and Top of the Lake." Studies in Australasian Cinema 12, no. 1 (January 2, 2018): 14–28. http://dx.doi.org/10.1080/17503175.2018.1426403.

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Coaffee, Jon, and Patsy Healey. "'My Voice: My Place': Tracking Transformations in Urban Governance." Urban Studies 40, no. 10 (September 2003): 1979–99. http://dx.doi.org/10.1080/0042098032000116077.

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Eriksson, Christine, and Monica Sand. "Placing voice meetings through vocal strolls – Toddlers in resonance with public space." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 2 (December 21, 2017): 64–78. http://dx.doi.org/10.7146/se.v7i2.102927.

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In early childhood education voice metaphors are often used to describe children’s participation, development or efforts to make themselves heard. This article aims to study the ways in which vocal metaphors take place in material and physical events in the Brunkeberg Tunnel (a pedestrian tunnel) in Stockholm, Sweden. Together with preschool toddlers we have developed ‘vocal strolls’ as a research method for early childhood research, where voice as an event takes place in, with and through resonance, rhythms, routines and refrains. To be able to discuss what vocal strolls consist of and what they may offer the toddlers as well as early childhood education we have developed new concepts. These concepts, voice meetings, voice orientations, voice rooms and vocal memory, take into account a relational and spatial way to compose voice, which may be utilised as a didactic method for amplifying voice as a phenomena among preschool toddlers.

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Bijankhan, Mahmood, and Mandana Nourbakhsh. "Voice onset time in Persian initial and intervocalic stop production." Journal of the International Phonetic Association 39, no. 3 (November 12, 2009): 335–64. http://dx.doi.org/10.1017/s0025100309990168.

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The purpose of this study is to examine voice onset time as a phonetic correlate of voicing distinction in standard Persian. Issues pertinent to VOT are also addressed: namely, the effect of place of articulation, vowel context and sex of speakers. The VOTs were measured from recordings of five male and five female speakers reading 65 words that contained a full set of Persian oral stops in word initial and intervocalic positions. This acoustic experiment indicated that VOT distinguishes voiced from voiceless stops. The results also revealed that Persian uses mainly {voiceless unaspirated} and {voiceless aspirated} categories for [±voice] distinction in initial position and {voiced} and {voiceless aspirated} categories in intervocalic position. Vowel context also affected VOT values but the only significant difference was due to high vowels, which caused the preceding voiceless stop to have a longer VOT. Examining sex differences in the VOT values indicated that for voiced items females produced longer VOTs than males. However, voiceless items displayed no significant sex differences for VOT values. Fundamental frequency (F0) of the onset of the following vowel was also examined as another cue to voice distinction. Although the F0 values of voiceless tokens were higher than those of the voiced ones in each voiced–voiceless category, the results suggest that F0 is not a major cue distinguishing the two stop categories.

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Caddell, Jillian Spivey. "Melville's Epitaphs: On Time, Place, and War." New England Quarterly 87, no. 2 (June 2014): 292–318. http://dx.doi.org/10.1162/tneq_a_00370.

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In poetry and fiction, Herman Melville explored the epitaphic genre's capacity for destabilizing poetic voice and producing a temporality that is recursive but not necessarily recuperative. The epitaphs of Battle-Pieces (1866) invigorate the form while questioning its ability to memorialize the dead of the American Civil War.

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Monod, David. "DOUBLE-VOICED: MUSIC, GENDER, AND NATURE IN PERFORMANCE." Journal of the Gilded Age and Progressive Era 14, no. 2 (April 2015): 173–93. http://dx.doi.org/10.1017/s1537781414000784.

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AbstractDouble-voiced singing was a popular form of variety show entertainment from the 1860s through to the 1920s. Double-voiced performers were able, through intonation and tone, to sound as though they had at least two separate and distinct “voices,” generally one soprano and one baritone. But as Claire Rochester, a double-voiced singer of the early twentieth century made clear, their act was more than just a matter of a woman singing low notes or a man singing high ones; it was all about a performer adopting the “voice” of the other sex. The unusual practice of these singers was to sing duets (and sometimes as much as quartets) to themselves and by themselves, flipping back and forth between their male to female “voices.” I place this strange form of entertainment in the context of changing attitudes to gender and sexuality and suggests that conventional interpretations of “freak” performances as “transgressive” fail to account for these vocal wonders. Double-voiced singers shunned the “transgressive” billing, especially when their own sexual identity was called into question. In making this argument, I suggest that we need to widen our understanding of “freakery,” imposture and the meaning of “nature” and “truth,” as they were revealed both on stage and off.

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Merchant, Jason. "Voice and Ellipsis." Linguistic Inquiry 44, no. 1 (January 2013): 77–108. http://dx.doi.org/10.1162/ling_a_00120.

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Elided VPs and their antecedent VPs can mismatch in voice, with passive VPs being elided under apparent identity with active antecedent VPs, and vice versa. Such voice mismatches are not allowed in any other kind of ellipsis, such as sluicing and other clausal ellipses. These latter facts appear to indicate that the identity relation in ellipsis is sensitive to syntactic form, not merely to semantic form. The VPellipsis facts fall into place if the head that determines voice is external to the phrase being elided, here argued to be vP; such an account can only be framed in approaches that allow syntactic features to be separated from the heads on which they are morphologically realized. Alternatives to this syntactic, articulated view of ellipsis and voice either undergenerate or overgenerate.

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Deane, Kirsten. "The Coloured Voice: Finding Its Place in South African Poetry." Education Journal 10, no. 4 (2021): 154. http://dx.doi.org/10.11648/j.edu.20211004.16.

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Teixeira da Silva, Jaime A., and Michael R. Blatt. "Does the Anonymous Voice Have a Place in Scholarly Publishing?" Plant Physiology 170, no. 4 (March 30, 2016): 1899–902. http://dx.doi.org/10.1104/pp.15.01939.

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Moon, Suzanne. "Place, voice, interdisciplinarity: understanding technology in the colony and postcolony." History and Technology 26, no. 3 (September 2010): 189–201. http://dx.doi.org/10.1080/07341512.2010.508882.

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O'Brien, Katherine, Anna Liggett, Vanessa Ramirez‐Zohfeld, Priya Sunkara, and Lee A. Lindquist. "Voice‐Controlled Intelligent Personal Assistants to Support Aging in Place." Journal of the American Geriatrics Society 68, no. 1 (October 16, 2019): 176–79. http://dx.doi.org/10.1111/jgs.16217.

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Hanks, D. Thomas. "Epilogue: Malory's Morte Darthur and 'the Place of the Voice'." Arthuriana 13, no. 4 (2003): 119–33. http://dx.doi.org/10.1353/art.2003.0041.

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Lawyer, Laurel, and David Corina. "An investigation of place and voice features using fMRI-adaptation." Journal of Neurolinguistics 27, no. 1 (January 2014): 18–30. http://dx.doi.org/10.1016/j.jneuroling.2013.07.001.

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Vasconcellos, Colleen A. "Finding Enslaved Children's Place, Voice, and Agency within the Narrative." a/b: Auto/Biography Studies 30, no. 1 (January 2, 2015): 17–29. http://dx.doi.org/10.1080/08989575.2015.1044885.

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Al-Bazei, Saad, and Barbara McKean Parmenter. "Giving Voice to Stones: Place and Identity in Palestinian Literature." World Literature Today 69, no. 1 (1995): 214. http://dx.doi.org/10.2307/40151085.

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van Delden, Sebastian, Michael Umrysh, Carlos Rosario, and Gregory Hess. "Pick‐and‐place application development using voice and visual commands." Industrial Robot: An International Journal 39, no. 6 (October 12, 2012): 592–600. http://dx.doi.org/10.1108/01439911211268796.

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Tatlow, Stephen. "Everyone in Space Wants to Hear You Scream." Journal of Sound and Music in Games 1, no. 3 (2020): 15–34. http://dx.doi.org/10.1525/jsmg.2020.1.3.15.

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When considering player voice in the context of game sound, existing examinations remain inconclusive. As player voice exists in a liminal position between reality and virtuality, some academics see them as sonic violations of the game space. Voice can convey information about identity, which may oppose our understanding of the avatars within the game world. Voice can facilitate social communication, which may remind us of the physical world outside the virtuality. Mediations of voice into the virtual world may introduce obstacles or inflections that interfere with our enjoyment of the virtual space. Alongside these concerns, however, we can also find virtual worlds that prioritize and privilege player voice. Player voice can become part of character identity. Gameworlds can encourage us to communicate ludically, without disrupting immersion. Interruptions and disruptions can be limited by players. Amongst others, the virtual world of the long-running MMORPG EVE Online demonstrates how voice can coexist with immersion. Marketing materials for the game now place player voice at the center of consumer focus. Including an interview with one of the videographers who placed player voice at the center of his fan videos, the article uses EVE Online as a case study for the integration of player voice into virtual worlds. By examining virtual worlds and the role of voice within them, this article develops a framework for understanding player voice in the context of game sound. This allows us to recognize how player voice, an often overlooked aspect of game sound, can function within virtual worlds.

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Banai, Benjamin, Lasse Laustsen, Irena Pavela Banai, and Kosta Bovan. "Presidential, But Not Prime Minister, Candidates With Lower Pitched Voices Stand a Better Chance of Winning the Election in Conservative Countries." Evolutionary Psychology 16, no. 2 (April 1, 2018): 147470491875873. http://dx.doi.org/10.1177/1474704918758736.

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Previous studies have shown that voters rely on sexually dimorphic traits that signal masculinity and dominance when they choose political leaders. For example, voters exert strong preferences for candidates with lower pitched voices because these candidates are perceived as stronger and more competent. Moreover, experimental studies demonstrate that conservative voters, more than liberals, prefer political candidates with traits that signal dominance, probably because conservatives are more likely to perceive the world as a threatening place and to be more attentive to dangerous and threatening contexts. In light of these findings, this study investigates whether country-level ideology influences the relationship between candidate voice pitch and electoral outcomes of real elections. Specifically, we collected voice pitch data for presidential and prime minister candidates, aggregate national ideology for the countries in which the candidates were nominated, and measures of electoral outcomes for 69 elections held across the world. In line with previous studies, we found that candidates with lower pitched voices received more votes and had greater likelihood of winning the elections. Furthermore, regression analysis revealed an interaction between candidate voice pitch, national ideology, and election type (presidential or parliamentary). That is, having a lower pitched voice was a particularly valuable asset for presidential candidates in conservative and right-leaning countries (in comparison to presidential candidates in liberal and left-leaning countries and parliamentary elections). We discuss the practical implications of these findings, and how they relate to existing research on candidates’ voices, voting preferences, and democratic elections in general.

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Edwards, Gemma. "Small Stories, Local Places: A Place-Oriented Approach to Rural Crises." Journal of Contemporary Drama in English 8, no. 1 (May 11, 2020): 65–82. http://dx.doi.org/10.1515/jcde-2020-0006.

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AbstractSince the British EU Referendum in 2016, there has been an ongoing media narrative of division: Remain voters against Leave voters, experts against ordinary people, the capital rich against the capital poor, and metropolitan centres against regional peripheries. This article explores the way in which theatre might offer a response to the perceived failure in understanding between these entrenched positions, using the lens of place. Making an argument for an ideological and dramaturgical shift from questions of voice – which have so far dominated theatrical critical discourse in response to Brexit – to place, I explore the potential of this change in focus and scale in relation to Matt Hartley’s play Here I Belong (2016) which toured with Pentabus Theatre – a professional rural touring company from the Midlands – to rural communities across England in 2016 and 2018. It is through this contact with rural communities that I propose that theatre can make a critical intervention: telling smaller stories about local places offers a way to reconnect with such communities during this crisis of communication.

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Jack, Max Z., and Eugenia Siegel Conte. "The Art of Making a Scene." Resonance 3, no. 2 (2022): 125–44. http://dx.doi.org/10.1525/res.2022.3.2.125.

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Through an examination of four contrasting moments of public intervention, we investigate the sonic and cultural implications of “making a scene”—a style of social engagement that draws attention and exceeds expectations of the normative social functions of a particular space. The act of making a scene serves as an avenue for understanding the broad and simultaneous trends toward heightened stratification and political polarization that exhibit a desire to be heard. Be it in the form of impromptu street performances, protests, or riots—which range from exhilarating to terrifying—the desire to be heard can be conceived as a rejection of the liberal values of rational-critical discourse through the radical implementation of voice and sound as a means of temporarily appropriating space and redefining place. Reorienting social activity into a heightened emotive terrain, such acts short-circuit the quotidian, serving to incorporate strangers and force social engagement that would otherwise be unlikely to occur. Building upon and complicating notions of voice as expressive of identity and political agency, we posit that voice serves to transform emotional dynamics through an engagement with the physical qualities of space and its acoustic-vibrational possibilities. Capturing attention through expressive inflections of difference, making a scene momentarily flips the social logics of a place, revealing public space as a site of contestation characterized by the unequal flow and uneven habitability of different bodies and voices.

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CORRINGHAM, VIV. "Urban Song Paths: place resounding." Organised Sound 11, no. 1 (March 15, 2006): 27–35. http://dx.doi.org/10.1017/s1355771806000057.

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The project Urban Song Paths took a traditional musical form, the Kaluli song path from Papua, New Guinea, and translated it for a contemporary urban situation. The Two Rivers Project explored a classic song path subject, the route of a waterway, in terms of two London rivers. A sense of place, the journey and the importance of the human voice were transferred from the Kaluli song path tradition into The Two Rivers Project, but other factors were necessary to create a truly urban song path form. Notions of dislocation, true and false memory, the changing functions of place and the unconscious effects of city zones were addressed by this work.

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Journal articles on the topic 'Voice of Place'

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