Hybridité et voix auctoriale

2016 ◽  
pp. 168-176
Author(s):  
Martine Motard-Noar
Keyword(s):  
Voice Leading ◽  
Generic Level ◽  
The Voice ◽  
Authorial Voice ◽  
Different Levels

This article analyzes three hybrid narratives – Sylvie Gracia’s Le livre des visages (2012), Pascal Quignard’s Les ombres errantes (2002), and Hélène Cixous’s Hyperrêve (2006). Although their hybridity can be found at different levels, such as the generic level, or the lexical level, all three texts attempt to catch the Mother in their narrative subterfuges in order to bring her back to life (or in the case of Cixous, to keep her alive), in vain. In the process, the authorial voice is reinforced as the voice leading the reader through narrative transgressions.

Ways and Voices in the Psychoanalysis of Links According to Enrique Pichon-Rivière

2016 ◽  
Vol 6 (2) ◽  
Author(s):  
Rosa Jaitin
Keyword(s):  
Couple Therapy ◽  
Clinical Observation ◽  
Clinical Work ◽  
The Core ◽  
The Social ◽  
The 1960S ◽  
Definition Of ◽  
Relationship Of ◽  
The Voice ◽  
Different Levels

This article covers several stages of the work of Pichon-Rivière. In the 1950s he introduced the hypothesis of "the link as a four way relationship" (of reciprocal love and hate) between the baby and the mother. Clinical work with psychosis and psychosomatic disorders prompted him to examine how mental illness arises; its areas of expression, the degree of symbolisation, and the different fields of clinical observation. From the 1960s onwards, his experience with groups and families led him to explore a second path leading to "the voices of the link"—the voice of the internal family sub-group, and the place of the social and cultural voice where the link develops. This brought him to the definition of the link as a "bi-corporal and tri-personal structure". The author brings together the different levels of the analysis of the link, using as a clinical example the process of a psychoanalytic couple therapy with second generation descendants of a genocide within the limits of the transferential and countertransferential field. Body language (the core of the transgenerational link) and the couple's absences and presence during sessions create a rhythm that gives rise to an illusion, ultimately transforming the intersubjective link between the partners in the couple and with the analyst.

Talking Books

2019 ◽  
pp. 185-229
Author(s):  
Jennifer Richards
Keyword(s):  
Sixteenth Century ◽  
John Bale ◽  
Printing Process ◽  
Printed Books ◽  
Written Form ◽  
Oral Testimony ◽  
Anne Askew ◽  
The Voice ◽  
Authorial Voice

This chapter explores the printed books of the sixteenth century as ‘talking books’; it also explores how the voice is implicated in the printing process. It focuses on the work of two print-aware authors, John Bale and William Baldwin, who worked with the most influential ‘talking book’ in England in the 1540s: Erasmus’s Paraphrases. It explores Bale’s attentiveness to the physical voice of Anne Askew in his editions of her Examinations (1546, 1547), arguing that he uses print to turn the written form of her oral testimony into a script for oral readers. It attends to Baldwin’s representation of the voices of illiterate working men, medieval magistrates, and an array of untrustworthy characters, including some noisy cats, to create careful ‘listeners’ who are aware of the manipulative authorial voice that lies behind literary voices on the page as well as the risks of affective ‘mishearing’.

Direct Intervals Revisited

Voice Leading ◽  
2016 ◽  
Author(s):  
David Huron
Keyword(s):  
Hierarchical Organization ◽  
Voice Leading ◽  
The Voice

The Direct or Hidden Intervals rule has a special status in the voice-leading canon. It offers two lessons. First, the direct intervals rule provides a logical link between three perceptual principles (harmonic fusion, semblant motion, and pitch proximity). The rule provides the glue that establishes a logical interconnection between the various rules of in the voice-leading canon. Said another way, the direct intervals rule points to the unity of the traditional part-writing rules. Second, perceptual experiments testing this traditional rule will lead us to question whether listeners hear nominally four-part harmony as truly evoking four independent lines. This observation leads us to consider possible hierarchical organization of auditory streams—which is the topic of the next chapter.

scholarly journals LES CORRÉLATIONS DE PERSONNE DANS L’ÉNONCÉ ORAL : ENJEUX ÉNONCIATIFS ET PROSODIQUES

FRANCISOLA ◽  
2016 ◽  
Vol 1 (1) ◽  
Author(s):  
Amidou SANOGO
Keyword(s):  
Mots Clés ◽  
Present Contribution ◽  
Syntactic Properties ◽  
Differential Properties ◽  
The Voice ◽  
Different Levels

<p><strong>RÉSUMÉ</strong><strong>. </strong>Selon<strong> </strong>Benveniste (1966), l’espace énonciatif se répartit entre personnes (Je/Tu) et non-personne (Il). On peut citer, entre autres critères de détermination, les oppositions de nombre et les propriétés syntaxiques et les phénomènes      suprasegmentaux tels que le ton et l’intonation. Celle-ci correspond à la variation de la hauteur de la voix au cours de l’énonciation. L’étude aborde des énoncés de type oral avec une construction segmentée par une pause virgulaire. Cette segmentation comporte des implications prosodiques et distributionnelles qui fondent nos préoccupations. Dès lors, quelles peuvent être les incidences de ces phénomènes suprasegmentaux sur les corrélations de personne <em>Je/Tu</em> et <em>Je, Tu/Il</em>. L’étude a pour objectif de montrer la fonction différentielle de certains prosodèmes comme le ton, l’intonation, l’accent, etc. elle revêt l’intérêt de démontrer les limites de la dichotomie personne # non personne. Notre hypothèse est que les phénomènes prosodiques contribuent à la  cohésion des instances énonciatives à travers la catégorie de la personne. L’étude se propose d’examiner les schémas intonatifs et d’en dégager les propriétés sous l’angle de la personne grammaticale. </p><p> </p><p><strong>Mots-clés:</strong> <em>distributionnel, énonciation, intonation, personne, prosodie. </em></p><p><em><br /></em></p><p><em> <strong>ABSTRACT</strong>. Benveniste’s (1966) theory underscores that the enunciation’s space is  divided between the persons (I / you) and non-person (It, he). These include, among other criterias, the opposition of numbers (singular/plural) and the syntactic properties (substitution, inversion…), which ones go along with some suprasegmental phenomena such as intonation. The intonation is the variation of the pitch of the voice when producing utterances. Therefore, what are the implications of these suprasegmentals phenomena on person correlations between I / You and I, You / It. The present contribution intends to highlight the differential properties of some prosodemes like tone, intonation and stress, etc., in the understanding of the dichotomy person # non-person. We hypothesize that the suprasegmental realizations help to the cohesion of the different levels of enunciation through the category of the person. In this study, we want to go through the intonation patterns and identify their properties on the perspective of the grammatical person.</em></p><p><em><br /></em></p><p><em> <strong>Keywords: </strong><em>distributional, enunciation, intonation, person, prosody.</em></em></p>

scholarly journals Hipster Harmony

2015 ◽  
Vol 21 (2) ◽  
Author(s):  
David J. Heetderks
Keyword(s):  
Large Scale ◽  
Grizzly Bear ◽  
Voice Leading ◽  
Roman Numeral ◽  
The Voice

This article argues that art-rock groups active since 2000 often use chromatic progressions between seventh chords and other chords of four or more notes in order to differentiate themselves from generic rock styles. These groups introduce chromatic progressions through one of three schemas: altering a recurring diatonic progression (a recurring Roman-numeral progression), exploring the voice-leading possibilities of a recurring chord (a magic chord), and exploring the diatonic and chromatic possibilities of a voice-leading motion (a magic voice leading). When a chromatic progression appears, it functions as a large-scale, tonally undetermined alternation between two chords, or as a substitution for a normative progression. Hybrid syntax occurs where progressions arising from the techniques listed above are juxtaposed with common rock progressions. I analyze instances of hybrid syntax in songs by Dirty Projectors, Deerhunter, Mew, Grizzly Bear, and Radiohead. In these songs, chromatic progressions conspire with lyrics, timbre, and texture to convey otherworldliness or ambiguity, supporting the depictions of unusual personae or situations that art-rock groups favor.

Three Short Essays on Neo-Riemannian Theory

2011 ◽  
pp. 547-577 ◽  
Author(s):  
Daniel Harrison
Keyword(s):  
Voice Leading ◽  
Functional Differences ◽  
The Voice ◽  
Short Essays

This article presents a three-section discussion, exploring the specific interrelated themes and questions central to the transformational and neo-Riemannian enterprise. The first section discusses the natures of musical objects and relations within the transformational worldview. It asks what happens when tones and chords are imagines not as objects but as transformations. The second section delves further into the object/transformation dichotomy. It explores the structural and functional differences among dissonant and consonant trichords in a particular nonatonic cycle. It also explores how the voice-leading functional and set-theoretical implications of the cycle might be engaged by a transformational perspective as a means to impart “sensuous distinctions”. The last section examines the analytical implications of the first two sections, by examining Vaughan Williams's neo-modal triadic Fantasia on a Theme by Thomas Tallis.

scholarly journals The influence of perceived vocal traits on trusting behaviours in an economic game

2021 ◽  
pp. 174702182110101
Author(s):  
Sarah Knight ◽  
Nadine Lavan ◽  
Ilaria Torre ◽  
Carolyn McGettigan
Keyword(s):  
First Impressions ◽  
Investment Game ◽  
Social Traits ◽  
Virtual Interaction ◽  
The Voice ◽  
Different Levels ◽  
Over Time

When presented with voices, we make rapid, automatic judgements of social traits such as trustworthiness—and such judgements are highly consistent across listeners. However, it remains unclear whether voice-based first impressions actually influence behaviour towards a voice’s owner, and—if they do—whether and how they interact over time with the voice owner’s observed actions to further influence the listener’s behaviour. This study used an investment game paradigm to investigate (1) whether voices judged to differ in relevant social traits accrued different levels of investment and/or (2) whether first impressions of the voices interacted with the behaviour of their apparent owners to influence investments over time. Results show that participants were responding to their partner’s behaviour. Crucially, however, there were no effects of voice. These findings suggest that, at least under some conditions, social traits perceived from the voice alone may not influence trusting behaviours in the context of a virtual interaction.

scholarly journals Cross-modal Suppression of Auditory Association Cortex by Visual Speech as a Mechanism for Audiovisual Speech Perception

2019 ◽  
Author(s):  
Patrick J. Karas ◽  
John F. Magnotti ◽  
Brian A. Metzger ◽  
Lin L. Zhu ◽  
Kristen B. Smith ◽  
...  
Keyword(s):  
Speech Perception ◽  
Auditory Processing ◽  
Visual Information ◽  
Visual Speech ◽  
Association Cortex ◽  
Auditory Information ◽  
Voice Leading ◽  
Audiovisual Speech Perception ◽  
Auditory Association Cortex ◽  
The Voice

AbstractVision provides a perceptual head start for speech perception because most speech is “mouth-leading”: visual information from the talker’s mouth is available before auditory information from the voice. However, some speech is “voice-leading” (auditory before visual). Consistent with a model in which vision modulates subsequent auditory processing, there was a larger perceptual benefit of visual speech for mouth-leading vs. voice-leading words (28% vs. 4%). The neural substrates of this difference were examined by recording broadband high-frequency activity from electrodes implanted over auditory association cortex in the posterior superior temporal gyrus (pSTG) of epileptic patients. Responses were smaller for audiovisual vs. auditory-only mouth-leading words (34% difference) while there was little difference (5%) for voice-leading words. Evidence for cross-modal suppression of auditory cortex complements our previous work showing enhancement of visual cortex (Ozker et al., 2018b) and confirms that multisensory interactions are a powerful modulator of activity throughout the speech perception network.Impact StatementHuman perception and brain responses differ between words in which mouth movements are visible before the voice is heard and words for which the reverse is true.

The Psalter as a House of Voices

2021 ◽  
Vol 54 (2) ◽  
pp. 35-44
Author(s):  
Egbert Ballhorn
Keyword(s):  
Literary Form ◽  
The Other ◽  
The Voice ◽  
Different Levels

Drawing on the literary concept of heteroglossia (M. Bachtin), this article analyses the ‘voice(s) of speech’ that can be found in the literary form of the Psalter. This analysis shows a complex stacking of voices and levels, dimensions to the texts, that are woven together without depreciating the other levels. Thus, a Christian reading, with the idea of Christ as recitator of the Psalms and object of the Psalms, adds a new dimension of reading to these levels, an addition that, without changing the text or arguing against the original levels of reading, allows Christians to access the different levels and dimensions.

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