Re-Reading "The Excursion": Narrative, Response and the Wordsworthian Dramatic Voice. Sally Bushell.

2003 ◽  
Vol 34 (4) ◽  
pp. 195-197
Author(s):  
William Galperin
Keyword(s):  
Narrative Response ◽  
Dramatic Voice

Blindness and limits: Sophokles and the logic of myth

1980 ◽  
Vol 100 ◽  
pp. 22-37 ◽  
Author(s):  
R. G. A. Buxton
Keyword(s):  
Final Section ◽  
Fifth Century ◽  
Specific Context ◽  
Dramatic Technique ◽  
The Individual ◽  
Dramatic Voice ◽  
The Way

To generalize about Aischylos is difficult; to generalize about Euripides is almost impossible; but to generalize about Sophokles is both possible and potentially rewarding. With Sophokles—or, rather, with the Sophokles of the seven fully extant tragedies—we can sense a mood, a use of language, and a style of play-making (‘dramatic technique’) which are largely shared by all seven works. Of these characteristics it is surely the mood which contains the quintessence of Sophoklean tragedy. My aim in the first section of this paper will be to open the way to an appreciation of that mood by following up one of the most important motifs in Sophokles: blindness. In the second section the scope of the enquiry will be widened: I shall show that, in using the blindness motif, Sophokles was drawing on a theme which was fundamental to a large number of mythical narratives told by Greeks from the time of Homer to that of Pausanias, and beyond. In the final section we shall return to Sophokles, placing him this time not against the background of the whole Greek mythical tradition but rather within the specific context of the fifth century B.C., and attempting to overhear the individual dramatic ‘voice’ used by him as he explored the implications of blindness.

A Dramatic Voice in Keats's Elgin Marbles Sonnet

1987 ◽  
Vol 26 (1) ◽  
pp. 49
Author(s):  
William Crisman
Keyword(s):  
Dramatic Voice

scholarly journals Zwischenfach: Paradox or Paradigm?

2021 ◽  
Author(s):  
◽  
Elisabeth Harris
Keyword(s):  
Vocal Pedagogy ◽  
Practical Application ◽  
Mezzo Soprano ◽  
Gray Area ◽  
Standard Classification ◽  
Critical Insight ◽  
To Come ◽  
Vocal Categories ◽  
Definition Of ◽  
Dramatic Voice

<p>Singers within the operatic world are expected to conform to the strict limits and dictates of the Fachsystem. Casting directors and opera companies prefer to be informed of which particular ‘Fach-box’ you tick when auditioning and it is becoming increasingly important for career advancement and name recognition to remain within that box. Yet what happens when your voice does not operate strictly within the predetermined requirements of a particular box? Or if the vocal category you supposedly assume is already ambiguous and contentious? Jennifer Allen’s DMA thesis, An Analysis and Discussion of Zwischenfach Voices, provides invaluable critical insight surrounding this enigmatic concept of voice categorisation. Allen argues that despite advances within vocal pedagogy, there remains a ‘gray area’ within the discussion. This elusiveness, to which Allen refers, pertains directly to the Zwischenfach voice type. Translated literally from German, the word Zwischen means ‘between’ and ‘Fach’ refers specifically to vocal specialisation as a way of categorising singers according to the weight, range and colour of their voices. Thus, in its most basic form, a Zwischenfach voice denotes a voice that lies between the vocal categories of soprano and mezzo-soprano. However, whilst Dr Rudolf Kloiber’s Handbuch der Oper (a staple for the operatic world) provides a definitive guide to vocal categorisation and continues to influence casting throughout Germany and Europe, the corresponding American Boldrey Guide acknowledges Zwischenfach as a voice that cannot be classified precisely in one particular Fach or another. This lack of uniform approach highlights not only the potential flexibility of this voice, but also the paradoxical nature of attempting to define a voice that defies standard classification. Indeed, as a young singer currently singing high mezzo-soprano repertoire, I have found the Zwischenfach labelling to be a paradox, for the upper extension of my voice also enables me potentially to sing some soprano roles. Therefore, is it conceivable to postulate that this term is a misnomer and merely highlights the issues associated with being constrained within the Fachsystem? In order to come to terms with these issues, then, my analysis of Zwischenfach labelling requires a separation of voice categorisation and the Fachsystem and an ongoing critique of these systems throughout my exegesis. In an attempt to determine its practicalities, the limits that it can impose, and how its boundaries have not always functioned so neatly, my critique focuses on elements such as convenience, marketability and professional development and life. An exploration of the relevance of aspects such as range, tessitura, passaggi, timbre, agility, physical characteristics, pitch of the speaking voice, and scientific tests is also necessary. Once a definition of Zwischenfach is established, I consider the “in between” nature of this vocal category as I investigate roles that develop out of this into the realm of the heavier, more dramatic voice. Finally, I explore the implications of switching between Fächer and divulge how I incorporate the contradictions within this category with the successful management of the label. The piecing together of existing scholarship surrounding this field of research and the practical application to my own expanding repertoire is invaluable in facilitating the expansion of my knowledge in regard to my own progression through Zwischenfach repertoire and roles.</p>

Brand management in the era of fake news: narrative response as a strategy to insulate brand value

2019 ◽  
Vol 29 (2) ◽  
pp. 159-167 ◽  
Author(s):  
Adam J. Mills ◽  
Karen Robson
Keyword(s):  
Brand Management ◽  
Management Strategies ◽  
Emotional Engagement ◽  
Brand Value ◽  
Fake News ◽  
Content Type ◽  
News Stories ◽  
Narrative Response ◽  
Conceptual Paper ◽  
Insight Into

Purpose Brand value is increasingly threatened by fake news stories; the purpose of this paper is to explain how narrative response can be used to mitigate this threat, especially in situations where the crisis is severe and consumers are highly involved. Design/methods This conceptual paper derives recommendations and guidance for the use of narrative response based on storytelling and brand management literature. Findings This paper highlights authenticity and emotional engagement as keys to effective storytelling. Practical implications Current managerial approaches to dealing with misinformation are insufficient, as they presuppose an audience that can be convinced based on facts; this paper can be used to help brand managers respond to fake news stories when rational appeals fail. Originality/value This paper provides insight into brand management strategies in the era of fake news.

Job Situation Narrative Response Scale

1982 ◽  
Author(s):  
Christopher I. Stone ◽  
Kathleen M. Moser
Keyword(s):  
Response Scale ◽  
Narrative Response
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