Relevant bibliographies by topics / Voice writing

Academic literature on the topic 'Voice writing'

Author: Grafiati
Published: 6 July 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Voice writing":

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Hafidz, Moh. "RAGAM GRAMATIKAL DALAM ARTIKEL ILMIAH (ACADEMIC VOICES) DI E-JOURNAL." AL-TANZIM : JURNAL MANAJEMEN PENDIDIKAN ISLAM 2, no. 2 (October 30, 2018): 185–91. http://dx.doi.org/10.33650/al-tanzim.v2i2.400.

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Grammatical or sound variety in scientific writing (Academic Voices) is a method used by writers to convey their own ideas and other people's ideas in the standard of scientific writing both in the form of Writer's Voice, Direct Voice, Voice indirect (Indirect Voice), additional voice (External Voice). The purpose of this study is to improve the ability of writers about quotations, to distinguish writers' voice, direct voice, indirect voice and external voice and reduce the level of plagiarism in writing journal articles. This study uses research in the form of Electronic Literature Study (E-Library Research) using observation and documentation. The result is 90% (ninety percent) of authors use author's voice (Writer's Voice) rather than direct voice (Direct Voice), indirect voice (Indirect Voice), additional voice (External Voice) in E-journal, formality of writing style scientific works are very varied and e-mail address (e-mail) is one of the conditions for the publication of articles as scientific papers.
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ВАРЕЦЬКА, Софія, Світлана МАЦЕНКА, Діана МЕЛЬНИК, and Ярина ТАРАСЮК. "Медійність голосу у драматичному тексті Лесі Українки." Studia Ucrainica Varsoviensia, no. 11 (December 4, 2023): 75–93. http://dx.doi.org/10.31338/2299-7237suv.11.5.

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Based on the theory of mediative nature of writing the article analyzes the dramatization of voices in Lesya Ukrainka’s dramatic poem Cassandra (1907). The analysis of the text revealed that the author uses voices to create unique characters’ portraits, she skillfully introduces voice gestures, plays with voice masks. Different types of voices have been outlined in Lesya Ukrainka’s text and characterized in the article: the author’s voice, voice of the text, voice of silence, prophetic voice, cry voice, singing voice. Considering the ideas expressed by the researchers in the fi eld of the theory of writing and voice mediality, it has been pointed out that Lesya Ukrainka uses voices not just as a medium but also, she focuses on their physicality, emotionality, gesture nature, and performativity that plays a significant role for representing a tragic cognition in the poem.
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Shepherd, Simon. "Voice, writing, noise…" Performance Research 8, no. 1 (January 2003): 74–82. http://dx.doi.org/10.1080/13528165.2003.10871911.

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Kesler, Ted. "Writing With Voice." Reading Teacher 66, no. 1 (July 12, 2012): 25–29. http://dx.doi.org/10.1002/trtr.01088.

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Romano, Tom. "Writing with Voice." Voices from the Middle 11, no. 2 (December 1, 2003): 50–55. http://dx.doi.org/10.58680/vm20033070.

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“Voice” is one of the least concrete elements of good writing, and yet it is also one of the most important. Helping students find a balance between the “gush” of ideas and words and the “long–thinking” of reflection and craft, Tom Romano leads students to allow themselves creative freedom while developing the patience to hone that first rush into a tight and effective piece of writing with voice.
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Bagheri, Fatemeh, and Liming Deng. "Personal and Social Voices in Written Discourse Revisited1." Chinese Journal of Applied Linguistics 42, no. 3 (September 25, 2019): 345–64. http://dx.doi.org/10.1515/cjal-2019-0021.

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Abstract For years, personal and social voices have been the issue of discussion on voice construction in written discourse (e.g., Elbow, 1999; Flowerdew, 2011; Hyland, 2002, 2010a, 2012b; Mauranen, 2013; Ramanathan & Atkinson, 1999; Tardy, 2005). However, there is a lack of an integrated examination of the dimensions which determine voice construction in writing from personal and social perspectives. This article re-examines the issue of voice construction through a critical review of previous literature on identity in written discourse. It is argued that there are five major dimensions for the construction of voice in written discourse. How writers appropriate their voice according to such five dimensions as genre, transition, culture, discipline and audience will be discussed. This paper lends further support to the view that voice in written discourse is both personal and social. As it is known, good writing expresses both personal and social voices. However, based on the dominant dimension(s), voice construction should be adjusted. Sometimes personal voice is boldly expressed; sometimes social voice is; and some other times the boundary between the two is unnoticeable. The study provides an integrated framework as well as pedagogical implications for the teaching of academic writing within L1 and L2 contexts.
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Brodersen, Randi Benedikte, and Solveig Kavli. "“Students Can Write!”." Nordic Journal of Information Literacy in Higher Education 11, no. 1 (June 25, 2019): 39–51. http://dx.doi.org/10.15845/noril.v11i1.2624.

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One purpose of this article is to shed light upon the concept of voice in writing, related to genres and sources in humanities. Another purpose is to participate in the academic discussion on voice. We want to raise awareness about the use of voice, in general, among students and supervisors. We want to inspire and motivate students to voice their texts explicitly and naturally – by using different genres and by entering into dialogue with central sources. Such sources can be used to create new meaning and for sense making, but they do not carry a given answer (Dervin, 1999; Holliday & Rogers, 2013). The variation and complexity of voice is present in the variety of sources students find and use, such as articles, textbooks, dissertations, interviews, films, pictures, etc. Voices are explicit or implicit in all kind of sources used. Voices emerge as authoritative and experienced within academia, for instance in textbooks and articles. Voices may be creative and inviting. Some are attractive and believable, others hesitant or uncertain, as voices in many texts written by students. Students, at all academic levels, express insecurity when working with academic writing and genres. However, by analysing and practicing different academic genres and by attending to voice(s) in others’ texts, students are empowered to explore genres and sources and to voice their own texts. By using and entering into dialogue with various sources, students make choices about how to present and interact with sources. In these ways, students develop their voices and improve their texts. Our theoretical point of departure deals with voice, dialogue (Elbow, 2007; Bakhtin, 1986) and the use of sources combined with the search for information (Dervin, 1999; Holliday & Rogers, 2013). We analyse and compare two examples of the use of sources in academic texts, in order to show how texts representing two genres, use voices and sources in different ways. We present supervisors’ guidance strategies, representing supervisors’ voices. We – and supervisors – mention students’ general challenges with academic writing. Finally, we present dialogic strategies and propose a new dialogic strategy. This new strategy combines and unites reading and writing in different genres, drawing on and entering into dialogue with central sources, with different and clear ways of voicing; explicit and implicit voicing. Our dialogic strategy – and other intended dialogic strategies – can be used by students and all supervisors who assist students in writing, when dealing with voice(s) and sources.
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Hong, Yeri. "Extracting a Voice." Journal of Didactics of Philosophy 4, no. 3 (Special Issue) (December 31, 2020): 177–89. http://dx.doi.org/10.46586/jdph.2020.9589.

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In this article, I suggest a process for teaching writing to the students preparing for the IPO (the International Philosophy Olympiad) essay competition. My teaching process is based on Peter Elbow’s theory of writing, which emphasizes that writing should contain the writer’s real voice and respects both the writer and reader. Elbow’s strategy is also called the binary strategy, as it focuses on the two primary skills behind all writing: creating and criticizing. These two skills work in separate ways and require different steps. I employ Elbow’s writing strategy when teaching IPO essay writing. The IPO essay competition aims to develop creative and critical thinking, which also requires two types of writing: philosophical writing and second-language writing. Elbow’s binary strategy, specifically his focus on the creating skill and criticizing skill, will be helpful for the aim of the IPO essay writing competition.
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Karsten, Andrea. "Voices in Dialogue: Taking Polyphony in Academic Writing Seriously." Written Communication 41, no. 1 (December 12, 2023): 6–36. http://dx.doi.org/10.1177/07410883231207104.

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In the past decades, the notion of voice in the theorizing and teaching of academic writing has been the subject of much debate and conceptual change, especially concerning its relation to writer identity. Many newer accounts of voice and identity in academic writing draw on the dialogical concept of voice by Bakhtin. However, some theoretical and methodological inconsistencies have surfaced in the adaptions of the concept. Working from a refinement of the dialogical notion of voice based on the concepts of polyphony and interiorization, this article presents a methodological approach for analyzing voice(s) in writing. The article presents material around the evolution of an early-career researcher’s dissertation synopsis. The material is multilayered, including the writer’s text, transcripts from an interdisciplinary peer-feedback conversation with two colleagues, and a video-stimulated interview with the writer. Excerpts of the material were analyzed to trace the polyphony of interiorized voices that influenced the writing. This focus revealed the multivoicedness of academic texts as an effect of their history of coming into being. This article contributes to the question of voice and identity in academic writing from a dialogical psycholinguistic perspective by presenting a de-reifying notion of voice grounded in an understanding of writing as a polyphonic activity, which also feeds into the formation of a writer’s self.
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Yaffe, Philip. "Active voice, active writing." Ubiquity 2020, February (February 27, 2020): 1–6. http://dx.doi.org/10.1145/3383777.

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You might also be interested in the extended bibliographies on the topic 'Voice writing' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Voice writing":

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Kennelly, Ita B. "Voice matters : narratives and perspectives on voice in academic writing." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/16766/.

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Maguet, McKenna Lucille. "Identifying Elements of Voice and Fostering Voice Development in First-Grade Science Writing." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6959.

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The purpose of this multi case study was to better understand voice in first grade science writing. Voice is the ability for individuals to synchronize specific narrative elements to express themselves with greater confidence and individuality. Three first-grade participants were chosen and their use of voice in science writing was examined across 8 weeks. Specific elements of voice were identified within atypical informational texts for primary grade learners in science. The 7 elements include descriptive words, placement of text and picture, creative punctuation, conversational tone, comparisons, imagery, and repeated text. The 7 voice elements were taught to a class of first-grade students. Findings from this study reveal that first graders can use descriptive words, creative punctuation, and conversational tone in their writing with great success before being formally taught, which indicates that these first graders are comfortable using these voice elements in their writing. These first graders also use text and picture placement, comparisons, and imagery prior to the weeks they are taught but with limited success. These first graders do not use repeated text until being formally taught, which indicates that it is a difficult voice element for them to include in science writing. Hand signals prove to be effective in helping these young children grasp the voice elements. Lessons used in the study are included. Mentor texts with examples of voice elements that children emulated during the study are also included and are helpful for these students. In addition to writing with words, these first graders also convey important information through their pictures. These young students can accomplish the requirements found in the Common Core State Standards to provide an opening, supply 3 facts about a subject, and write a conclusion. However, they can do this with a quality of voice that was not present in their writing prior to the unit.
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Katz, Yael. "Configuring crisis : writing, madness, and the middle voice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56569.pdf.

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Ferrell, Rosemary Kaye. "Voice in Screenwriting: Discovering/Recovering an Australian Voice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2004.

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This creative practice research explores the concept of an identifiable screenwriter’s voice from the perspective of screenwriting as craft, proposing that voice can be understood and described based on its particular characteristics. Voice is understood to be the authorial presence of the screenwriter, whose mind shapes every aspect of the text. This presence is inscribed in the text through the many choices the screenwriter makes. More than this, the research argues that the choices made inflect the text with a cultural-national worldview. This occurs because of the close association between voice and personal (including cultural/national) identity, and because of the power of textual elements to signify broader concepts, ideas and phenomena belonging to the actual world. The thesis includes an original feature film screenplay evidencing a particular Australian voice, and an exegesis which describes voice and national inflection more fully. The practice research began with the interrogation of voice in a previously-existing screenplay which, though an original work written by an Australian screenwriter – myself – was described as having an American voice. Voice and its mechanisms were then further investigated through the practice of writing the original screenplay, Calico Dreams. Theories of voice from within literary theory, and the concept of mind-reading, from cognitive literary theory, acted as departure points in understanding voice in screenwriting. Through such understanding a conceptual framework which can assist practitioners and others to locate aspects of voice within a screenplay, was designed. This framework is a major research outcome and its use is illustrated through the description of voice in the screenplay, Calico Dreams. The research found that screenwriter’s voice serves to unify and cohere the screenplay text as an aesthetic whole through its stylistic continuities and particularities. Through the voice, the screenwriter also defines many of the attributes and characteristics of the film-to-be. A theory of screenwriter’s voice significantly shifts the theoretical landscape for screenwriting at a time when an emerging discourse of screenwriting is developing which can enrich understandings of the relationship between the screenplay and its film.
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Jackson, Richard Paul. "Searching for a voice of authority in newspaper writing /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/6179.

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Mackie, Joanna. "Embraceable me, reclaiming voice through reflexive writing and singing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ62884.pdf.

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Braithwaite, Ann. "Writing and cultural analysis : claiming a feminist positional voice." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61982.

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Pedersen, Joelle Marie. "TheNeglected Voice in the Writing Revolution: Foregrounding Teachers' Perspectives." Thesis, Boston College, 2019. http://hdl.handle.net/2345/bc-ir:108402.

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Thesis advisor: Marilyn Cochran-Smith
Prior to the widespread adoption of the Common Core State Standards (CCSS) in 2009, writing was largely neglected in the education policy realm. However, the CCSS called for major shifts in the teaching of writing reinforced by the requirements of rigorous new standardized writing assessments. While the high stakes attached to these new assessments place all teachers under increased pressure to improve students’ writing, little is known about how teachers perceive the standards and assessments or how these are influencing classroom instruction. To address this need, this case study explored how English teachers at one urban high school made sense of their school’s new writing initiative, which incorporated use of CCSS-aligned, standardized writing assessments to improve students’ writing. In this longitudinal study, I drew from multiple, nested data sources, including interviews with teachers and school leaders, observations of department meetings, and teacher “think alouds” about students’ writing. Relying on the theoretical lenses of sense-making (Spillane et al., 2002) and communities of practice (Wenger, 1998), I argue that teachers’ sense-making of the writing initiative was individualized and heavily mediated by the standardized assessments they used. This study has three major findings. First, at the school level, there was a “coherence gap” between how the multiple, conflicting purposes of the initiative were represented to teachers and lack of organizational structures to support streamlined implementation. Second, at the department level, the discourse about writing was constrained by the decontextualized nature of the CCSS and the standardized writing assessments, which oversimplified teachers’ understandings of writing as a social process. Third, at the classroom level, teachers relied on two particularized dimensions of their professional knowledge – their “reform knowledge” and their “relational knowledge” – to exercise agency in implementation. Overall, teachers made meaning of the writing initiative in localized ways consistent with their established writing instruction and their perceptions of students’ needs. This study underscores the central importance of particularized teacher knowledge in translating reform meaningfully to the classroom. Until school leaders and policymakers recognize teachers’ knowledge as valuable and create opportunities for teachers to share this knowledge with others, reforms are unlikely to be successful
Thesis (PhD) — Boston College, 2019
Submitted to: Boston College. Lynch School of Education
Discipline: Teacher Education, Special Education, Curriculum and Instruction
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Olivier, Aletta Petronella. "Authorial voice as a writing strategy in doctoral theses." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65596.

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Voice is not a new concept in writing; however, it is relatively new in the field of academic writing. The main aim of this research is to determine how voice as a social construct is understood and perceived by doctoral students and supervisors from the faculties of Humanities and Social Sciences at a South African university. The focus is on the challenges of exhibiting an authorial voice in doctoral writing in particular, with the aim of informing a pedagogical framework of voice that might serve as a foundation for further development of an instructional framework. The term ‘voice’ started to appear in North American composition writing in the mid-1960s as a mark of self-discovery, individualism, and expressivism. However, the emergence of social constructivism led to a marked decrease in the emphasis on individual voice in favour of regarding voice as socialised and constructed. The post-2000 voice era became more nuanced and established a definite niche for voice in academic discourse. The three approaches that influenced written voice most significantly are individualised voice, powered by the expressivist approach; socialised voice, which embraces voice as multi-dimensional and dialogic and embedded in Bakhtin’s heteroglossia; and voice as empowerment, represented by the Academic Literacies Approach. Except for its historic evolution the notion of voice was impacted by Systemic Functional Linguistics (SFL) as a theory of language. Two partially operationalised models, grounded in social constructivism and SFL, provided the substance for designing a heuristic framework for voice: the Engagement Framework, situated in the Appraisal Framework of Martin and White (2005) and Hyland’s (2008a) model of stance and engagement. With the decline of the expressivist approach a number of theoretical and empirical studies propagating a pedagogical approach started to appear. Although these studies validate the need for a visible voice pedagogy, voice has yet to be operationalised as student friendly pedagogical tool. The following research questions guided the research: 1. How is authorial voice theorised in linguistics and applied linguistics? 2. Has the notion of ‘voice’ been adequately operationalised in academic writing contexts? 3. What guidance on developing a voice pedagogy is found in the scholarly literature on writing instruction in higher education? 4. How is the notion of voice understood by supervisors and doctoral students? A qualitative case study was conducted to determine the understanding and perceptions of voice by supervisors and doctoral students by means of semi-structured interviews. The data were systematically analysed and coded using qualitative content analysis. The qualitative data analysis software program ATLAS.ti.2 was used for this purpose. The data yielded four main categories: 1. Assumptions about voice as non-negotiable in doctoral writing; 2. Enablers of voice; 3. Impediments of voice, confirming voice as complex and unstable; 4. Opinions on voice as construct that substantiated gaps in the literature. As the findings point to a need for a pedagogy of voice these categories were translated into parameters for a pedagogy of negotiated voice. The pedagogical model integrates the theory-based heuristic as well as pedagogical attempts at measuring voice and the findings of the empirical study.
Thesis (PhD)--University of Pretoria, 2017.
Unit for Academic Literacy
PhD
Unrestricted
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Zhao, Yebing. "A QI 气 Theory of Voice: Cultivating and Negotiating Inventive and Ethical Qi-Voice in Writing." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1617901205834771.

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Books on the topic "Voice writing":

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Sommers, Jeffrey. Model voices: Finding a writing voice. New York: McGraw-Hill, 1989.

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Keyes, Bettye. Voice writing method. Little Rock, Ark: VoiceCAT Corp., 2005.

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Petrilli, Susan. Writing, voice, undertaking. New York: Legas, 2013.

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1950-, Yancey Kathleen Blake, ed. Voices on voice: Perspectives, definitions, inquiry. Urbana, IL: National Council of Teachers of English, 1994.

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Callahan, Anne. Writing the Voice of Pleasure. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780312299149.

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Inchley, Maggie. Voice and New Writing, 1997–2007. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137432339.

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Peter, Elbow, ed. Landmark essays on voice and writing. Davis, CA: Hermagoras Press, 1994.

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MacDermot, Molly. Voice to voice: The girls write now 2015 anthology. New York, NY: Girls Write Now, 2015.

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Trower, Shelley, ed. Place, Writing, and Voice in Oral History. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339774.

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Trower, Shelley. Place, writing, and voice in oral history. New York: Palgrave Macmillan, 2011.

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Book chapters on the topic "Voice writing":

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Hunt, Celia, and Fiona Sampson. "Voice." In Writing, 24–39. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-0-230-20460-7_3.

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Gullion, Jessica Smartt. "Voice." In Writing Ethnography, 59–60. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-381-0_12.

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Boulter, Amanda. "Voice." In Writing Fiction, 58–73. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-0-230-20747-9_5.

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Davidson, Chad, and Gregory Fraser. "Voice." In Writing Poetry, 146–55. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_10.

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Davidson, Chad, and Gregory Fraser. "Voice." In Writing Poetry, 44–58. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-12070-0_4.

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Yeh, Jane. "Voice and language." In Creative Writing, 235–59. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003189169-16.

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Williams, Kate, Mary Woolliams, and Jane Spiro. "Finding your voice." In Reflective Writing, 27–31. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-37724-0_6.

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Godfrey, Jeanne. "Your voice: verbs." In Writing for University, 63–66. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34621-5_14.

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González-Calvo, Gustavo. "Voicing my writing, writing my voice." In The Routledge International Handbook of Autoethnography in Educational Research, 196–211. London: Routledge, 2022. http://dx.doi.org/10.4324/b23046-20.

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Batty, Craig, and Zara Waldeback. "Dialogue and Voice." In Writing for the Screen, 62–76. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-05057-1_6.

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Conference papers on the topic "Voice writing":

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Aizawa, Fumihito, and Tetsuya Watanabe. "A braille writing training device with voice feedback." In the 16th international ACM SIGACCESS conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2661334.2661390.

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Kumar, Dhruv, Vipul Raheja, Alice Kaiser-Schatzlein, Robyn Perry, Apurva Joshi, Justin Hugues-Nuger, Samuel Lou, and Navid Chowdhury. "Speakerly: A Voice-based Writing Assistant for Text Composition." In Proceedings of the 2023 Conference on Empirical Methods in Natural Language Processing: Industry Track. Stroudsburg, PA, USA: Association for Computational Linguistics, 2023. http://dx.doi.org/10.18653/v1/2023.emnlp-industry.38.

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Jewell, Jessica. "And Now My Voice Is Rising: Creative Writing in Narrative Methodology." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1443965.

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Johnson, Frances, Susan Garza, and Kristina Gutierrez. "Research on the use of voice to text applications for professional writing." In 2016 IEEE Professional Communication Society (ProComm). IEEE, 2016. http://dx.doi.org/10.1109/ipcc.2016.7740532.

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Simpson, Zach, and Muaaz Bhamjee. "Voice in first-year engineering design report writing: An academic literacies investigation." In 9th Research in Engineering Education Symposium & 32nd Australasian Association for Engineering Education Conference. https://reen.co/: Research in Enineering Education Network (REEN), 2022. http://dx.doi.org/10.52202/066488-0028.

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Anichini, Alessandra, Andrea Nardi, Rudi Bartolini, and Francescaa Pestellini. "DIGITAL AND PAPER READING AND WRITING AT SCHOOL: STUDENTS’ VOICE FROM AN ITALIAN SCHOOL." In 17th International Technology, Education and Development Conference. IATED, 2023. http://dx.doi.org/10.21125/inted.2023.0935.

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Sayis, Batuhan, and Hatice Gunes. "Technology-assisted Journal Writing for Improving Student Mental Wellbeing: Humanoid Robot vs. Voice Assistant." In HRI '24: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3610978.3640721.

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Hu, Lailin, Xinli Zhang, and Ying Zhao. "Experimental Study about Voice Recognition and Concept Map to Support the Students with Writing Disabilities." In 2009 International Conference on Computational Intelligence and Software Engineering. IEEE, 2009. http://dx.doi.org/10.1109/cise.2009.5363942.

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Preethi.S, Meeradevi.T, Ramyea.R, Mohammed Kaif K, Hema.S, and Monikraj.M. "Real time Air Writing and Recognition of Tamil Characters with voice integration using deep learning." In 2023 14th International Conference on Computing Communication and Networking Technologies (ICCCNT). IEEE, 2023. http://dx.doi.org/10.1109/icccnt56998.2023.10306406.

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Brandt, Adam, Spencer Hazel, Rory Mckinnon, Kleopatra Sideridou, Joe Tindale, and Nikoletta Ventoura. "From Writing Dialogue to Designing Conversation: Considering the potential of Conversation Analysis for Voice User Interfaces." In CUI '23: ACM conference on Conversational User Interfaces. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3571884.3603758.

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Reports on the topic "Voice writing":

1

Reyes, Karen. Finding a new voice : the Oregon writing community between the world wars. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5486.

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Sklenar, Ihor. The newspaper «Christian Voice» (Munich) in the postwar period: history, thematic range of expression, leading authors and publicists. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11393.

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Abstract:
The article considers the history, thematic range of expression and a number of authors and publicists of the newspaper «Christian Voice» (with the frequency of a fortnightly). It has been published in Munich by nationally conscious groups of migrants since 1949 as a part of the «Ukrainian Christian Publishing House». The significance of this Ukrainian newspaper in post-Nazi Germany is only partly comprehended in the works of a number of diaspora press’s researchers. Therefore, the purpose of this article is to supplement the scientific information about the «Christian Voice» in the postwar period, in particular, the yearbook for 1957 was chosen as the principal subject of analysis. In the process of writing the article, we used such methods: analysis, synthesis, content analysis, generalization and others. Thus, the results of our study became the socio-political and religious context in which the «Christian Voice» was founded. The article is also a concise overview of the titles of Ukrainian magazines in post-Nazi Germany in the 1940s and 1950s. The thematic analysis of publications of 1957 showed the main trends of journalistic texts in the newspaper and the journalistic skills of it’s iconic authors and publicists (D. Buchynsky, M. Bradovych, S. Shah, etc.). The thematic range of the newspaper after 1959 was somewhat narrowed due to the change in the status of the «Christian Voice» when it became the official newspaper of the UGCC in Germany. It has been distinguished two main thematic blocks of the newspaper ‒ social and religious. Historians will find interesting factual material from the newspaper publications about the life of Ukrainians in the diaspora. Historians of journalism can supplement the bibliographic apparatus in the journalistic and publicistic works of the authors in the postwar period of the newspaper and in subsequent years of publishing. Based upon the publications of the «Christian Voice» in different years, not only since 1957, journalists can study the contents and a form of different genres, linguistic peculiarities in the newspaper articles, and so on.
3

Uche, Chidi, Zita Ekeocha, Stephen Robert Byrn, and Kari L. Clase. Retrospective Study of Inspectors Competency in the Act of Writing GMP Inspection Report. Purdue University, December 2021. http://dx.doi.org/10.5703/1288284317445.

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The research was a retrospective study of twenty-five Good Manufacturing Practice (GMP) inspection reports (from March 2017 through to December 2018) of a national medicine regulatory agency, drug Inspectorate, in West Africa, designed to assess the inspectors’ expertise in the act of inspection report writing. The investigation examined a paper-based tool of thirteen pre-registration Inspection reports and twelve GMP reassessment reports written prior and following an intervention program by external GMP trainers to enhance inspectors’ skill in pharmaceutical cGMP inspection. The study made use of quantitative analysis to investigate each team’s expertise in the act of writing GMP inspection report. Likewise, each report’s compliance with the requirements of three regulatory standards on GMP inspection report writing was ascertained. Impact of intervention program on lead inspectors’ competence was assessed. Lastly, gap in each team writing effectiveness, and lead inspectors’ abilities to deliver an effective report were determined. The results showed one of the inspection team (4.0%) wrote an excellent report. Two (8.0%) of the twenty-five inspection teams penned good inspection reports. Eleven (44.0%) teams drafted needs improvement reports and the remaining eleven teams (44.0%) prepared unacceptable reports. The excellent report and the two good reports had report format that meet expectation. One (50.0%) of the good reports showed the authors possess excellent knowledge of cGMP technical areas. The remain good report (50.0%) revealed the writers’ knowledge.as good. The excellent report showed the authors displayed partial mastery in the use of objective evidence while the two good reports disclosed theirs as having partial and evolving abilities. One of the teams (50.0%) that wrote good reports displayed good use of third person narrative past tense in report writing whereas the other team used the same tense and voice excellently. Generally, a sort of marginal level of performance was prominent among the inspection teams. A gap, if not tackled, will slow down regulatory process through increase report review, litigations that query report factual accuracy (AIHO, 2017) and delay in issuance of marketing authorization. In conclusion, trainings on quality attributes, such as technical content (Quality Management System (QMS) and Site), the use of objective evidence, assignment of risk levels to GMP violations and citing of applicable laws, regulation and guidelines that substantiate GMP observations, were recommended, to enhance knowledge sharing and regulators’ performance in the act of writing inspection report.
4

Bailey, Audrey. The Effect of Extended Instruction on Passive Voice, Reduced Relative Clauses, and Modal Would in the Academic Writing of Advanced English Language Learners. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3194.

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Magaraci, Maya, Kiya Law, Megan Jans, Evan D’Alessandro, Matilda Sofia Claudia Mackey, Maureen McCue, Rebecca Kaplan, et al. 2011 Voices on Disability Writing Contest Winners In Honor of Priscilla McKinley. Iowa City, Iowa: The University of Iowa Council on Disability Awareness, December 2011. http://dx.doi.org/10.17077/miw6-7rmj.

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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.

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The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.

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