scholarly journals Lullaby: Births, Deaths and Narratives of Hope

Religions ◽  
2020 ◽  
Vol 11 (3) ◽  
pp. 138
Author(s):  
Rebekah Pryor
Keyword(s):  
Contemporary Art ◽  
Hannah Arendt ◽  
Luce Irigaray ◽  
The Voice

Guided by the hopeful possibilities of birth, breath and beginning that Hannah Arendt and Luce Irigaray variously articulate, this paper examines the lullaby as an expressive form that emerges (in a variety of contexts as distinct as medieval Christendom and contemporary art) as narrative between natality and mortality. With narrative understood as praxis according to Arendt’s schema, and articulated in what Irigaray might designate as an interval between two different sexuate subjects, the lullaby (and the voice that sings it) is found to be a telling of what it is to be human, and a hopeful reminder of our capacity both for self-affection and -preservation, and for meeting and nurturing others in their difference.

The Diabolical Strategy of Mimesis: Luce Irigaray's Reading of Maurice Merleau-Ponty

Hypatia ◽  
1996 ◽  
Vol 11 (3) ◽  
pp. 114-129 ◽  
Author(s):  
Susan Kozel
Keyword(s):  
Sexual Difference ◽  
The Other ◽  
Luce Irigaray ◽  
Self And Other ◽  
The Voice

In this essay I explore the dynamic between Luce Irigaray and Maurice Merleau-Ponty as it unfolds in An Ethics of Sexual Difference (1993). Irigaray's strategy of mimesis is a powerful feminist tool, both philosophically and politically. Regarding textual engagement as analogous for relations between self and other beyond the text, I deliver a cautionary message: mimetic strategy is powerful but runs the risk of silencing the voice of the other.

scholarly journals New Noises New Voices

2020 ◽  
Vol 20 (1) ◽  
pp. 401-432
Author(s):  
Martina Raponi
Keyword(s):  
Contemporary Art ◽  
Entry Point ◽  
Political Environment ◽  
Linguistic Minority ◽  
Entire Spectrum ◽  
Deaf Adults ◽  
The Voice ◽  
Historical References

As an artist interested in Noise, and a CODA (child of deaf adults), I will tackle the issue of noise and counterculture from the entry point of deafness and un-cultured voices. In ableist societies the voice is a cultural product, and certain voices, perceived as “other”, flawed, “noisy”, can open up discourses related to shared sonic spaces, disruption, and inclusivity. Soundscape is here described as a social and political environment, and the bodies immersed in it are considered according to the entire spectrum of their capacities, beyond listening, in rhythmanalytical terms. Soundscape, understood within the thresholds of audibility, expels and rejects communities which carry the stigma of “handicap”, such as Deaf communities. This theoretical exercise is accompanied by examples from contemporary art and technological-historical references, pointing at “acts of silencing” and “acts of noising”, while underlining the value of “deviant” bodies as resistant bodies. The paper ends with the testimony of a Deaf dancer who used my writings to produce her last two shows. I will refer to the audiological deaf using the lowercase, and capitalize the linguistic minority: Deaf. Despite being considered disabled, or deviant, Deaf bodies are the last example of countercultural agents in all-speaking and all-hearing ableist societies.

DARON HAGEN (b. 1961)Muldoon Songs (1989 and 1992)

2020 ◽  
pp. 111-114
Author(s):  
Jane Manning
Keyword(s):  
Contemporary Art ◽  
Art Song ◽  
The Third ◽  
Wide Range ◽  
The Voice

This chapter explores the Muldoon Songs by Daron Hagen. This succinct, appealing cycle comes from a generous, attractively presented volume, replete with notes by both the composer and Paul Sperry, who has done so much for contemporary art song. This cycle consists of seven contrasting songs; the third and fourth mere fragments. The sixth was added last, at the request of Paul Sperry, who commissioned the piece. Much of the intriguingly acerbic text is set straightforwardly. Through this cycle, Hagen shows a masterly grasp of the voice–piano idiom, along with a love of words, and a refined instinct for setting them. His writing seems unfettered and entirely natural, encompassing an exceptionally wide range of styles with unerring craftsmanship and sometimes deceptive simplicity. Indeed, as this chapter shows, the music breathes freely, maintaining elasticity and rhythmic verve.

scholarly journals Narración extrema en Ninguén Dorme (2019) de Rexina Vega. El cuerpo de la paria, el empoderamiento y la violencia feminina

2020 ◽  
Vol 23 ◽  
pp. 181-197
Author(s):  
Ana Garrido González
Keyword(s):  
Hannah Arendt ◽  
Georges Bataille ◽  
Julia Kristeva ◽  
Luce Irigaray ◽  
Las Mujeres

En este trabajo nos acercamos a Ninguén Dorme (2019) de Rexina Vega para analizar como la autora tuvo que reconstruir desde la marginación una nueva figura autoral, que pudiera dar visibilidad a un libro que concibe la violencia de su mensaje como herramienta que obliga al lector a encarar aquello que la sociedad evade –miseria, racismo, violencia de género pederastia, etc. De este modo, la autora convierte el desgarro corporal y anímico de una realidad repulsiva en un espacio desde el que volver a pensar. Una propuesta radical que centra su discurso en los cuerpos, el goce y el miedo de las mujeres y narra experiencias tan importantes como el aborto y la violencia defensiva ejercida por mujer. Para desmenuzar el texto de Vega nos apoyaremos principalmente en las teorías de Georges Bataille sobre el erotismo y la violencia, pero también en Hannah Arendt para hablar de la figura del paria, en Luce Irigaray para indagar sobre por qué lo femenino se define en base al deseo masculino, en Julia Kristeva y sus teorías sobre lo abyecto y en Dona Harawa para analizar a la mujer de vagina dentada como monstruo.

scholarly journals Gogi Saroj Pal: Questioning Patriarchy, Engendering Force through Paintings

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Keyword(s):  
Contemporary Art ◽  
Indian Society ◽  
Urban Context ◽  
Indian Culture ◽  
Deep Impact ◽  
Cultural Aspects ◽  
Radical Feminist ◽  
The Everyday ◽  
Everyday Problems ◽  
The Voice

Painting has always been a reflection of society, culture, values and surroundings of the individuals. The place and people around leaves a deep impact on the artists because they usually depict their belongingness and experiences through their creation. In Indian contemporary art, various artists like Amrita Sher-Gill, M.F. Husain, F.N. Souza and many more have adopted the glimpse of their city to articulate their expressions. Gogi Saroj Pal, a contemporary Indian artist has adopted the spirit of Indian culture, where she is inculcating the mythical fables with the advancement of feministic ideology. The aim of this paper is to discuss the significance of India and its socio-cultural aspects in the paintings of Gogi Saroj Pal. Gogi Saroj Pal is considered to be the first among the radical feminist artists of India who has painted various series on woman including Hat-yogini (female practitioner of Yoga), Kamdhenu (wish-fulfilling cow), Kinnari (half-bird & half woman), Dancing Horse, Sawaymvaram (an ancient practice for choosing groom by bride) and Alter for Nirbhaya (related with the brutal rape case in Delhi). In most of her paintings, powerful female nudes have been portrayed to criticize the previous forms of woman, which were particularly related with beauty and sensuousness. Apart from feministic advancement, her artwork series are particularly based on the indigenous portrayal of her surroundings- that is Indian urban context where innumerable incidents of female oppression take place recurrently. Gogi Saroj Pal usually takes the everyday problems of woman in modern Indian society and represents it with an infusion of mythological references through her paintings in an attempt to raise the voice of protest for the oppressed womanhood to the world. Keywords: Gender Politics, Patriarchal Hegemonies, Resistance of Power, Mythology and Art, Symbolism, Portrayal of Woman

Friendship As a Metaphysical Experience

2020 ◽  
pp. 68-80
Author(s):  
Yulia V. Sineokaya ◽  
Keyword(s):  
Hannah Arendt ◽  
Basic Structure ◽  
Human Existence ◽  
Philosophical Tradition ◽  
Circle Of Friends ◽  
Anthropological Approach ◽  
The Voice

The author focuses on a philosophical tradition born from a friendly dialogue. To understand the development and specificity of philosophical concepts, it is important to study the interpersonal, existential communication of authors within small philosophical communities and groups. The author considers friendly com­munication among the most essential interpersonal existential communications for the philosophical tradition. The trajectory of understanding friendship as the basic structure of human existence was set for centuries by Aristotle and Ci­cero. Since Montaigne, friendly communication has been seen as the source of philosophizing. Transcending the anthropological approach, Heidegger linked the phenomenon of friendship with the question of being. The article presents the phenomenon of friendship as an experience of voluntary freedom that makes a person. Friendship is understood as filia – love that gives a person integrity, making him/her what the person cannot be without his/her circle of friends. Phi­losophy as the “voice of a friend” was considered by La Boétie, Nietzsche, Flo­rensky, Heidegger, and Fédier. Montaigne put debt of such friendship above civil duty and love passion, Lessing thought it possible to sacrifice truth for the sake of such friendship, Hannah Arendt gave preference to such friendship over brotherhood and comradeship. The article shows that the art of philosophizing is largely determined by intellectual generosity, talent for friendly communication. Being engaged in philosophy implies listening, discussion, argument, mutual ex­change of intuitions, reasoned expression of disagreement.

scholarly journals The anatomy of voice: Two views on the exhibition post-opera ('Tent' Gallery and 'V2_Lab for the Unstable Media', Rotterdam, April 19 - June 30 and May 3-26 2019)

New Sound ◽  
2020 ◽  
pp. 179-199
Author(s):  
Ivana Ilić ◽  
Iva Nenić
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Human Body ◽  
The Third ◽  
Art Object ◽  
Theoretical Perspectives ◽  
Art And Culture ◽  
Speaking Voice ◽  
The Voice

In this paper we discuss the exhibition Post-Opera, a complex and provocative curatorial project by Kris Dittel and Jelena Novak, in which the changeable relations between the voice and the (human) body are investigated from the creative and the theoretical perspectives, relying on juxtaposing and reflection between visual arts, technology and opera. Firstly, in the paper we examine the curatorial procedure, in its shift from the mediatory function between the work and the audience towards the practice, which intervenes in both of these domains and results in an exhibition as an autonomous art object. In the second part we interpret the politics and the effectiveness of the singing and the speaking voice in contemporary art and culture, while in the third part we write about the resemantization of the relation between the singing body and the sung voice within 'installing the operatic'.

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