...This chapter examines the new “deconstruction of phenomenology” found in Le Toucher, in the chapter called “Tangent II.” It attempts to show the continuity between this recent text and Voice and Phenomenon. As in Chapter 6 of Voice...

...This chapter takes up the vexed question of authorial voice. Sometimes the writing voice is seen as stylized but disembodied, evidence for the silencing of voice by print. Here a contrary argument for the bodily sense of text, especially in movement and accent, is laid out. Using the examples...

.... Nietzsche argues throughout his work for a more somatic understanding of all thought and writing. Even Plato’s famously controlling sense of music reveals slips, perhaps quite intentional, in his sense of its importance. The argument of this chapter is that voice plays a role not simply next...

... (The People's Voice), speaks in the second epigraph above. Denise's suffering, in short, both augurs and does the work of a certain social, even “socialist,” futurity—as if answering in advance that melancholic bind to which La Débâcle's Maurice Levasseur would come to be subject...

...Falque critiques phenomenology, especially running from Heidegger through Derrida, as failing to recognise the fundamental bodily, even fleshly condition of the voice. Merleau-Ponty, Chrétien, and Agamben inform his diagnosis. From a voiceless silent speaking, an autonomous gramma, and a naked...

... is to be on the extension of voice telephony to rural areas without connectivity and provision of public access to the Internet in rural communities. The chapter first provides an overview of Tanzania's telecommunications sector before explaining UCAF in more detail. It then considers the potential of information...

...This chapter tackles a rather common, arguably overworked concept—that of voice. It departs from the conventional understanding of the voice as an index of presence and authenticity to instead explore the originary pervertibility of speech. The political exclusion of some voices as inarticulate...

... of putting the performative and the address to the other into deconstruction. They also reflect on the role of technological mediation in animating apostrophe, highlighting the extent to which the voice is always already compromised and at risk of going unheard. Foucault Michel microphone Pasolini Pier...

... abolishes the use of the first person, while also exploding its “subject” into separate functions (a disembodied narrative voice, an inert body that hears, and a creator or “deviser” responsible for the whole). It is argued that this grammatical and spatial dispersal of the story’s sole subject reveals...

... trope prosopopoeia, a literary trope whereby poetics grant a face and a voice to an absent, dead, or inanimate entity. The election of the dead to public office helps make legible the ways a poetic trope like prosopopoeia conditions representative democracy, as one's vote (one's voice) is lent...

..., it is because she has a discursive or linguistic consistency and existence. Helen as “Woman and Word,” is discussed under four headings. First heading: her proper name, with a reading of Aeschylus; second heading: her voice, with a reading of Homer; third heading: the relationship between word and thing...

.... The chapter argues for the salience of the second person as the addressee of a speech event and the relevance of the other for giving life to words. The signature theme of finding one’s voice in one’s history finds ethnographic and literary affirmation in attentiveness to fleeting moments that, from another...

... it, Conrad wrote that it was like “a sinister resonance” and “continued vibration.” These sound figures, based in his memories of music, issue a profound challenge to the transcendental signifier that supports narrative levels: “voice.” At the same time, the chapter seeks out linguistics in the material...

... a basis for reappraising canonical tropes of voice in narrative theory, media theory, and the phenomenology of reading. Conrad’s novelistic writing becomes critical when read in relation to emergent sound technologies, the phonograph and ethnography, both of which simultaneously depended on the oral while...

... accounts of volunteers in the Civil War. Civil War confession depositions evidence Hospital Transports humans as collective humanity law life as actual Miller Hugh muteness narrative politics quiet as disquieting stones rocks testimony as constative truth in Agamben United States voice...

... to deteriorate. This development has undermined the implacable power of face-to-face experience and highlighted the diluting character of distance as illustrated by voice mails. It suggests that the wider the physical gap, the more indirect the experience and the lesser the quality of educational experience...

...Though a new and more vibrant materialism has made its way into theory, the words we use to theorize are treated even now as abstractions, and not rematerialized themselves. We still pretend that meanings live beyond the sounds of words and the movements of flesh. But we give voice...

...The final two chapters belong together and explore in genealogical detail the nature of a novelist’s authorial voice in relationship to the problem of History (the grand march of reason). These two chapters do so by broadly taking up the question of imitation (μίμησις) or repetition in relationship...

... that is both open and directed: the advertised four-beat line is not an obligatory or invariant feature; even when it does arise, it produces a significantly wide variety of affects. In place of a hypostasized lyric “voice,” therefore, Coleridge’s poem forces us to consider the process of vocalization, whereby...

... of voices and generations” and the simultaneous necessity of improvisation represented by jazz. We are trained to dissociate our philosophical voices from their uniquely autobiographical inflections. Initiation into philosophical discourse demands, at the very least, working hard to erase merely...