1. WOMEN’S STORYTELLING— NARRATIVE, GENRE, AND THE FEMALE VOICE

The purpose of this article is to update the management of the treatment of the female voice at perimenopause and menopause. Voice and hormones—these are 2 words that clash, meet, and harmonize. If we are to solve this inquiry, we shall inevitably have to understand the hormones, their impact, and the scars of time. The endocrine effects on laryngeal structures are numerous: The actions of estrogens and progesterone produce modification of glandular secretions. Low dose of androgens are secreted principally by the adrenal cortex, but they are also secreted by the ovaries. Their effect may increase the low pitch and decease the high pitch of the voice at menopause due to important diminution of estrogens and the privation of progesterone. The menopausal voice syndrome presents clinical signs, which we will describe. I consider menopausal patients to fit into 2 broad types: the “Modigliani” types, rather thin and slender with little adipose tissue, and the “Rubens” types, with a rounded figure with more fat cells. Androgen derivatives are transformed to estrogens in fat cells. Hormonal replacement therapy should be carefully considered in the context of premenopausal symptom severity as alternative medicine. Hippocrates: “Your diet is your first medicine.”

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Epilogue: Revealing Garments

10.1093/oso/9780198826309.003.0007 ◽

2018 ◽

Author(s):

Lilah Grace Canevaro

Keyword(s):

Turning Point ◽

Female Voice ◽

William Morris ◽

Gender Balance ◽

Samuel Butler ◽

Recent Scholarship ◽

And Gender

The Epilogue considers the semantic and poetological connections between words and weaving, and offers a broader perspective that brings in Tennyson, Waterhouse, and William Morris. Through Aristophanes and Plato it reflects on the cultural, social, and generic expectations of weaving and gender. Female voice is considered, in response to Samuel Butler but also in light of recent scholarship, translation, and literature that has changed the gender balance of Homeric studies. The Epilogue situates this book at a turning point, and reiterates its place in the discourse. Again through Morris, it returns to the all-important issue of representation, offering a final reflection on the particular status of objects in poetry.

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Voce voco. Ariadne in Ovids Heroides und die ‘weibliche’ Stimme

Mnemosyne ◽

10.1163/156852511x547811 ◽

2012 ◽

Vol 65 (2) ◽

pp. 219-237

Author(s):

Christoph Pieper

Keyword(s):

Literary Tradition ◽

Female Voice ◽

Male Dominance ◽

Second Step ◽

Roman Literature ◽

Literary Character ◽

The Future ◽

In The Beginning ◽

Female Perspective

Abstract The article analyses how Ovid in the 10th letter of his Heroides experiments with the concept of a female voice within Roman literature. Ovid constructs Ariadne as a literary speaker against the background of (1) the Augustan elegiac tradition with its mostly male speakers, (2) the earlier phases of the Ariadne-myth in which Ariadne’s fate is determined by men (Theseus and Bacchus), and (3) the reception of this myth in Catullus’ famous ecphrasis in carmen 64. In the beginning of Heroides 10, Ovid shows how Ariadne develops consciousness of her own ability to speak. She develops from a heterodiegetic (epic) narrator to a homodiegetic (elegiac) speaker. In a second step, however, Ovid demonstrates that Ariadne is not only generally inexperienced in the field of literature, but that her attempt to re-shape her own story from a female perspective must necessarily fail. Her literary character cannot be separated from the previous (male) myth. At the end of the letter, she accepts her own literary immaturity when she asks Theseus to be the future narrator of her own fate. By showing that Ovid in his Ariadne-letter actually stages the failure of his protagonist’s attempt to free herself from a male literary tradition, I suggest that the Heroides should not be read as female literature, but as texts which reaffirm male dominance within Roman literary society.

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Voices’ use of gender, race and other social categories to undermine female voice-hearers: Implications for incorporating intersectionality within CBT for psychosis

Psychosis ◽

10.1080/17522439.2015.1131323 ◽

2016 ◽

Vol 8 (3) ◽

pp. 203-213 ◽

Cited By ~ 9

Author(s):

Maria Haarmans ◽

Victoria Vass ◽

Richard P. Bentall

Keyword(s):

Female Voice ◽

Social Categories

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Normative Voice Range Profile of the Young Female Voice

Journal of Voice ◽

10.1016/j.jvoice.2021.03.023 ◽

2021 ◽

Author(s):

Henriette Sune Andersen ◽

Mia Hungeberg Egsgaard ◽

Helena Rask Ringsted ◽

Ågot Møller Grøntved ◽

Christian Godballe ◽

...

Keyword(s):

Young Female ◽

Female Voice ◽

Range Profile ◽

Voice Range

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In a Female Voice

Slavic Review ◽

10.2307/2498251 ◽

1985 ◽

Vol 44 (1) ◽

pp. 104-107 ◽

Cited By ~ 2

Author(s):

Laura Engelstein

Keyword(s):

Female Voice

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The effects of cigarette smoking on the female voice

Logopedics Phoniatrics Vocology ◽

10.3109/14015439.2011.638673 ◽

2011 ◽

Vol 37 (1) ◽

pp. 22-32 ◽

Cited By ~ 11

Author(s):

Irena Vincent ◽

Harvey R. Gilbert

Keyword(s):

Cigarette Smoking ◽

Female Voice

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Learning from Disequilibrium and Educating the Feminine Voice in Philosophy

Oxford Research Encyclopedia of Education ◽

10.1093/acrefore/9780190264093.013.1266 ◽

2021 ◽

Author(s):

Naoko Saito

Keyword(s):

Female Voice ◽

Democratic Politics ◽

University Education ◽

Biological Origin ◽

Feminine Voice ◽

Political Criticism ◽

The Feminine ◽

The Subject ◽

The Voice ◽

Alternative Idea

This article broaches what can sometimes be seen as the suppression of the female voice, sometimes the repression of the feminine. To address these matters involves the reconsideration of the political discourse that pervades education and educational research. This article is an attempt to disclose inequity in apparently equitable space, through the acknowledgment of the voice of disequilibrium. It proposes to re-place the subject of philosophy, and the subject of woman, through an alternative idea of the feminine voice in philosophy. It tries to reconfigure the female voice without negating its fated biological origin and traits, and yet avoiding the confining of thought to the constraints of gender divides. In terms of education, it shall argue for the conversation of justice as a way of cultivating the feminine voice in philosophy: as the voice of disequilibrium. This is an occasion of mutual destabilization and transformation of man and woman, crossing gender divides, and preparing an alternative route to political criticism that not only reclaims the rights of women but releases the thinking of men and women, laying the way for a better, more pluralist, and more democratic politics. The feminine voice can find a way beyond the dominance of instrumental rationality and calculative thinking in the discourse on equity itself. And it can, one might reasonably hope, have an impact on the curriculum of university education.

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