Voice Theory

This paper provides a description of the process, and the results of case
method and interviews of four students from the study program, Pre-Scho-
ol and Elementary Pedagogy. These students have problems with accurate intonation when singing twenty children‘s songs. The aim of this paper is to bring an effective way of removing imprecise intonation by developing musical and singing skills under the guidance of a voice teacher or when studying alone. Attention is focused on the appropriate selection of vocal exercises that use the natural feelings and the imagination from everyday life. Another aspect is the creation of preparatory vocal-technical and intonation exercises that are based on problematic phrases from the songs. Also included are the instructions and procedures for solving the individual and joint problems in the the singing of these songs.

Keywords: female voices, singing, children‘s songs, imprecise intonation, the process to improve intonation

The article analyses “other” category of verbs in Old English historically compared to Modern English. The so-called verbs are beon, don, willan and gan. The verbs “wesan” and “beon” were scrutinized and as a
result, it turned out that “wesan” expressed habitual action while beon also indicated futurity. After a rigid analysis, it became known that past forms of “wesan” and “beon” are the same though they have different
present forms.  Besides, the study sheds light on the origin of the verb “wendan” comparing it with  Old English gan”. At the end of historical linguistic analysis of the past forms of all “other” kind of verbs in Old English, we could claim that they could be conjugated according to person and number. However, they don’t change according to number and person in Modern English.

This study investigates whether self-reported tone-deaf singers can be taught how to sing accurately and if their vocal confidence can be improved. Utilising elements of The Estill Voice Method and The Alexander Technique, the study comprised of self-reported tone-deaf singers partaking in a series of workshops whereby explicit instruction of the voice and somatic mind-body awareness was taught, and its impact measured by questionnaires; pitch matching tests, observation, and participant feedback. For ease of understanding, the first item in the appendix is a glossary of terms and contractions used throughout this report.

In unserm Gespräch über das Singen verriet er mir, daß er beim Singen mit den Ohren wackelt, und gab mir das als Empfehlung mit auf meinen sängerischen Weg. Mir leuchtete das damals sofort ein. Als Kind hatte ich das Ohrenwackeln meinem Vater mit seinen bemerkenswert großen Ohren abgeschaut. Besonders beeindruckte mich an seiner Fähigkeit, daß das Gesicht und die Stirn dabei völlig entspannt und glatt blieben. Nach dem Traum habe ich einige Zeit beim Singen mit dem Ohrenwackeln gespielt, es dann aber wieder vernachlässigt. Nach dreißig Jahren, als ich mich intensiver mit der Mimikmuskulatur, dem Facialis und dem Trigeminus beschäftigte, habe ich dann in einem Anatomiebuch entdeckt, daß es in den Ohrmuscheln ganz kleine Muskeln gibt, und gleich ausprobiert, ob ich die beim Ohrenwackeln aktivieren kann. Und tatsächlich, sie bewegen sich fühl-und sichtbar beim Wackeln mit den Ohren. Der entscheidende Muskel ist aber der Musculus auricularis posterior, der hintere äußere Ohrmuskel, der bei Kontraktion die Ohrmuschel nach hinten zieht. Er gehört zu den Mimikmuskeln und wird wie alle Mimikmuskeln vom Nervus facialis, dem VII. Hirnnerv, innerviert (s.u. S.11). Neben diesem hinteren Ohrmuskel gibt es noch den oberen, der die Ohrmuschel nach oben zieht, und den vorderen, der sie nach vorne zieht.

Sound for the human voice is produced by vocal fold flow-induced vibration and involves a complex coupling between flow dynamics, tissue motion, and acoustics. Over the past three decades, synthetic, self-oscillating vocal fold models have played an increasingly important role in the study of these complex physical interactions. In particular, two types of models have been established: "membranous" vocal fold models, such as a water-filled latex tube, and "elastic solid" models, such as ultrasoft silicone formed into a vocal fold-like shape and in some cases with multiple layers of differing stiffness to mimic the human vocal fold tissue structure. In this review, the designs, capabilities, and limitations of these two types of models are presented. Considerations unique to the implementation of elastic solid models, including fabrication processes and materials, are discussed. Applications in which these models have been used to study the underlying mechanical principles that govern phonation are surveyed, and experimental techniques and configurations are reviewed. Finally, recommendations for continued development of these models for even more lifelike response and clinical relevance are summarized.

According to some historical linguists, the early English HAVE + past participle construction had only one meaning (e.g. Mustanoja 1960: 499-500, Carey 1994), namely the resultative perfect. However, recent research has demonstrated that the Old English HAVE + past participle construction has much more in common with the Modern English present perfect than was previously thought (Lee 2003 and Łecki 2010). Reading of the literature of both diachronic and synchronic analyses opens up terminological issues of the usage of “uses”, “meanings” and “functions”. Such terminological ambiguity is in fact a reflection of the uncertainty as to the true nature of HABBAN + past participle construction or the present perfect in Modern English. A recent synchronic corpus-based analysis of the present perfect (Žic Fuchs 2009) has shown that we are faced with four constructions each reflecting a specific meaning, the most frequent two being the resultative and the experiential, which are primarily as...

The aim is to show that the "dramatic" character of the voice is not merely about its expressive quality but is intrinsic to its very nature. The voice is "dramatic" because it inherently takes the form of action: it manifests an action. As an expression of an original "theatrum," the voice is inherently plural, containing "multitudes" (to quote Bob Dylan). On this basis, we will analyze the tension-filled autonomy of the voice with respect to language, and of the vox with respect to the verbum (as per Augustine). Finally, by discussing Derrida, we will address the crucial issue of the relationship between "voice" and "consciousness."

This article shows two different musical examples of trans-femininity. I want to show how the pop star Cher’s Believe song from 1998 and more recent songs of transgen- der singer, Anohni, redefine the meaning of a woman’s body and voice. Those two examples show different feministic approaches: Cher, a powerful, spectacular, and futurist female entity and Anohni, a non-binary, calm, and angelic singer, represent two different dimensions of trans(humanity). Analyzing their performances with scrutiny we can see that either cosmic wigs and high heels or a white robe with mini- malistic scenography allow female subjects to occupy spaces created and dedicat- ed for men, especially when the voice is the main source of the female power. By combining the theories of cyberfeminism proposed by Donna Haraway and the idea of vocality presented by Roland Barthes, I would like to examine the critical po- tential of both singers. The main aim of this article is to show how trans(human) female corporeality can be understood as a critical tool useful to deconstruct social discourse and aesthetic principles. Because trans(human) bodies are not so easily entangled in binary oppositions, it escapes unambiguous categories and redefines conservative cultural contexts. Thanks to this, the materiality of trans(human) voice becomes the purest and most corporeal audial form possible. I want to show how the musical performance of Cher’s revolutionary Believe song and Anohni’s albums: Antony and the Johnsons, I am a Bird Now and Hopelessness are possible to un- derstand as a critical intervention in the classical (sometimes preclusive particu- lar groups) femininity discourse. Such musical interventions are subversive ways of becoming visible and hearable by female subjectivities within and beyond the patriarchal order.

This thesis discusses the work of theatre director Krzysztof Warlikowski, which holds an important place within Polish and world theatre, although it remains little known in the UK. It argues that that existing approaches to Warlikowski?s theatre are inadequate as they focus too much on the perspective of an interpreter of productions who decodes the meaning of the performance. Instead Warlikowki?s work should be approached from the perspective of an observer of the complex creative processes that lead to performance and determine its relationship with the audience. The connection between actors and spectators takes the form of an ?encounter? that offers a particular experience of theatregoing. It aims to challenge the existing customs of spectatorship and is based on destabilising and violating the sense of safety of both actors and spectators while expanding their experience of performance beyond the ?here and now?.This thesis asks questions about the distinctive conditions that m...

One of the questions that still surrounds the history of auxiliary do is what function it had during the Middle English period (c.1100–1500). Scholars have put forward different hypotheses, suggesting that it could serve, among others, as a perfective marker (Denison 1985), agentive marker (Ecay 2015) and habitual marker (Garrett 1998). The present article reports on a quantitative study that aims to shed further light on this issue. By means of a collexeme analysis, this article investigates the semantic features of the infinitives that occur with auxiliary do in several Middle English corpora. The results show that auxiliary do was not connected to verbs with specific semantic profiles, but it was employed in different contexts and had various functions. Specifically, the data suggest that auxiliary do was used (i) as an accommodation tool to facilitate the use of low-frequency verbs, particularly of French origin, and (ii) as an aspectual particle to mark both perfectivity and habituality. It is argued that the multifunctionality of auxiliary do in Middle English played a crucial role in the preservation of the construction before it spread to the NICE (i.e. negation, inversion, code and emphasis) environments.

In El viaje entretenido (1603), Agustín de Rojas Villandrando described the ‘bululú’ as ‘a player who travels alone and afoot, who enters a village, goes to the priest, and tells him that he knows a comedia and a loa or two’. Rojas’ definition included explanations of metatheatrical techniques the bululú employed: voice modulation, improvised scenography, and out loud stage directions. This entertainer constituted a company of actors, insofar as he exercised all business functions and performed every character in the play. Focusing on its defining characteristics, my paper considers this type of comedian as a point of departure to analyse the relationship between performance, reception and subjectivity in early modern Spain. I argue that the bululú was a subject of multi-discursivity (ludio diversas personas agens, or histrio performing as different characters) whose interchangeability of roles was only possible when a strong dramatic contract between spectators and the performer existed. This contract was linked to the materiality of his voice, and it strengthened and modified certain qualities of the dramatization. My approach is informed by recent scholarly developments in the theorization of the human voice, which emphasize the role of sound for a decentred modernity no longer defined by the printed word.

Brunclík P a spol. Kardiovaskulárne prejavy a elektrokardiografické nálezy pri hypotermii 183 ÚVOD Osbornova vlna (OV) je odchýlka v elektrokardiograme (EKG) majúca konfiguráciu v tvare hrbolu, ktorá sa nachádza v oblasti junkcie R-ST (bod J). Zvýraznenie alebo objavenie sa vlny J sa vyskytuje pri včasnej repolarizácii, epikardiálnej alebo endokardiálnej ischémii alebo poškodení, perikarditíde, blokáde pravého alebo ľavého Tawarovho ramienka, hypertrofii pravej alebo ľavej komory, alebo v rámci digitalisového účinku. (1,2) Je typickým prejavom EKG u ľudí vystavených chladu náhodne, alebo počas klinických alebo experimentálnych chirurgických výkonov. (3-9) Bola pozorovaná pri hyperkalcémii, (3,10) poškodení mozgu, (11) subarachnoidálnom krvácaní, (12) pri zastavení dýchania a obehu pri predávkovaní sedatívami, (9) poškodení sympatických nervových zakončení na krku, (13,14) vazospastickej angine pectoris (15) alebo idiopatickej komorovej fibrilácii. (16-18) P. a J. Brugada vr oku 1992 (19) referovali o pacientoch s blokádou pravého Tawarovho ramienka, ktorí mali nekoronárnu eleváciu segmentu ST v pravých prekordiálnych zvodoch a mali epizódy komorovej tachykardie alebo fibrilácie. Všetky odchýlky vlny J nevyzerajú rovnako. Niektoré elevácie ST sú iba vo zvodoch V1 a V2, (19) u iných sú rozličné variácie vrcholu a kupoly akčného potenciálu. (20) Tieto pozorovania vedú k záveru, že rôzne mechanizmy sú zodpovedné za veľkosť a podobu odchýlky vlny J. J. J. Osborn v roku 1953 pri experimentoch s podchladenými psami popísal vlnu J. Zistil, že pes mal väčšiu šancu na prežitie, pokiaľ mu bola podávaná infúzia bikarbonátu. To viedlo k domnienke, že vlna J je spôsobená acidózou krvi. (20) Experimentálne indukovaná hypotermia spôsobila vývoj zreteľnej odchýlky bodu J na EKG, ktorú Osborn nazval prúdom z poškodenia, ktorý bol predzvesťou komorovej fibrilácie. V medicínskej literatúre boli používané rozličné pomenovania tejto vlny: spojenie "hathook", hypotermická vlna, vlna K, vlna H, prúd z poškodenia, (3) znak ťavieho hrbu, (21) neskorá vlna delta, (22) vlna J bodu (23) aO V. (20) V priebehu rokov nezvyčajná vlna bola stále častejšie nazývaná ako OV, pravdepodobne na podklade Osbornovho článku, který bol publikovaný vr oku 1953 (20)-na počesť jeho systematickej a excelentnej práci, ako jedného z prvých priekopníkov Americkej kardiologickej spoločnosti.

Current dramaturgies are designed as complex temporal and spatial configurations, which are no longer based on traditional narrative patterns or centered on the dramatic text. In both the creation of stagings and the participatory involvement of audiences, game structures (such as instructions or rules) are used as creative instruments or methods. At the
same time, these dramaturgies bring into play non-hierarchical arrangements and movements of spatial elements, light, sound, bodies, and objects. And they produce certain forms of diagrammatic documents (in order to describe these arrangements): Lists of task
instructions, circuit diagrams, and floor plans become essential elements in the artistic concept.
This development can be traced back to at least the 1950s, when instructions, diagrams, and parameters of time and space selected in random processes (dramaturgical) were used in Happenings, Fluxus, and Live Electronic Music – based, in part, on John Cage's artistic ideas
and practices. The development is also tangible in the strong interest in joining technical and artistic innovations, in collaborations between artists and engineers, who resorted to technical drawings, diagrams, and so forth as common working instruments.

The rise and fall of the passive auxiliary weorðan (WERDEN) in the history of English is investigated. We provide a new structural analysis of why and in what languages the passive diathesis can / cannot use the copula BE as auxiliary. We will do so in a comparative perspective within Germanic and Romance. We provide 1. language internal structural variation in BE and WERDEN as passive auxiliaries in relation with Verb-Second, 2. cross-linguistic i.e. comparative data of this variation 3. diachronic data on Old English weorðan that ties the need of a separate passive auxiliary to the Verb second constraint. It turns out that Old English displays a temporary rise and fall of strict-V2 around 1000, as well as a rise and fall of weorðan, which developments can be related because they comply to Kroch's Constant Rate Hypothesis (CRH). Finally, we sketch the first contours of a grammatical model that umbrellas tense/aspect, V2, and the passive diathesis, which predicts this correlatio...

Pre-set: DSR table & chair (with a mic and stand) on the table, a laptop and some papers. DSL a music stand, another microphone and stand, a jester's mask. There is a battery-operated practical light-a music stand light, attached to the music stand (There is also a CD and booklet on the music stand and more papersthese are not visible to the audience) There is a clothes rack USR The curtains are not pulled all around, the scene dock is open-the mechanics of the theatre are visible As the audience enter: House lights are on and the stage is lit with colours of the Italian flag-bright colourful, exciting, showy. Music plays-Daniel is setting up the space and welcoming people 01 High note compilation As the music nears the end (on yet another high C) Daniel rolls a football onto the stage from SR to SL

This article deals with the Old English adjectival construction that consists of the copulative verb bēon 'to be' and the past participle. Grammaticalization is gauged as to the agreement between the subject noun phrase and the past participle and from the perspective of deflexion, which is considered the final stage of grammaticalization. The highest rates of agreement are found in AElfrician texts and translations from Latin, while other texts like the Anglo-Saxon Chronicle not only evince remarkably lower figures of agreement, but also show a decrease over time. The conclusion is reached that, although the grammaticalization of the past participle in passive constructions is not complete on the basis of deflexion, the process is well underway in Old English.

Este artigo aborda uma possibilidade de dialogo entre as tecnicas de clown, bufao e acoes fisicas a partir da realizacao de um treinamento e de uma experiencia pessoal. Tal recorte e parte da pesquisa de mestrado ainda em andamento. A instrumentalizacao do ator atraves de determinadas tecnicas lhe confere certas caracteristicas de atuacao em conformidade com sua experiencia, assim em seu corpo e em sua voz aparecem ecos de treinamentos e experiencias que fizeram dele o que ora se apresenta. Dessa maneira, o dialogo entre tecnicas de treinamento do ator (BONFITTO) constitui o ponto-chave da pesquisa, onde sera um realizado um estudo de similaridades, complementaridades e oposicoes. O treinamento na tecnica de clown (BRONDANI) proporciona o exercicio da imaginacao criativa e do improviso. Assim como o treinamento com o bufao (BRONDANI) permite o desbloqueio de entraves fisicos e mentais “liberando” o corpo para a expressao do grotesco e de outras energias advindas do baixo ventre. Ja ...

This thesis contains an ethno-phenomenological study of actors’ experiences of performing in theatre. The methodology of the investigation was developed from the traditions of phenomenology and ethnography, with particular attention given to phenomenological reduction as espoused by Husserl. There are two distinct threads of inquiry that are juxtaposed with each other in order to understand actors’ experiences and the contingencies that accompany such experiences. First, there is a ‘wide’ examination of factors that impinge on or foster experience for actors. Second, there is a ‘deep’ and ‘narrow’ examination of the performance experiences themselves, gathered from a small selection of actors. Both threads, while different in approach, are complementary and are necessarily positioned together. The study also examines the sedimentation that undergirds such experiences, including actor training, with ‘sedimentation’ conceived to be a set of accumulated memories and practices embodied ...

It is accepted that music education is highly effective for individuals' cognitive, affective and dynamic development process. Although it is so effective, music education given in today's schools is not given the necessary importance. Although the process of music education has some requirements, there are some problems regarding the fulfillment of these requirements. For example, there should be at least one instrument in the music class and certain time interval is needed for music lessons to be productive. In this study, in order to determine the current problems of the current music teachers, it was found necessary to ask the current problems with the music teachers. The research was conducted in 2019-2020 academic year. Using the Google Forms program, music teachers from all walks of life participated in the survey. A total of 34 music teachers were reached. Participants were asked two open-ended questions in the questionnaire to express their ideas freely. Qualitative research method was used in data analysis and content analysis technique was used. The following results were obtained: lack of textbook, lack of material, lack of music room, insufficiency of time of music lesson; not taking music lessons seriously by parents, students and management, Inadequacy of Turkish music course curriculum, crowded class, music teachers do not attend the course, obligation to grade continuously, music lessons cannot be processed due to continuous activity. Suggestions for solutions are also mentioned. Turkish Studies-Educational Sciences Volume 14 Issue 6, 2019 solutions. Since the last two questions were open-ended, they were asked to answer sincerely.

The aim of the present paper is twofold: On the one hand, to reconstruct the Old English field of sound symbolic verbs and on the other, to find out the syntactical behaviour of them. In order to carry out the research, the lexical field of Old English sound symbolic verbs was reconstructed by means of the Oxford English Dictionary, the Historical Thesaurus of English, the Thesaurus of Old English and the Dictionary of Old English. Once the field of Old English verbs was established, they were searched in the Toronto Corpus of Old English to get their occurrences in the texts.Whereas some of the verbs will show a limited number of syntactic combinations, other verbs of sound will allow the exploration of further syntactic properties.

Objective-Determine the permeability of excised canine vocal fold lamina propria Study Design-Basic Science Methods-Vocal folds were excised from canine larynges and mounted within a device to measure the flow of 0.9% saline through the tissue over time. The resultant fluid volume displaced over time was then used in a variation of Darcy's law to calculate the permeability of the tissue. Permeability was found through each anatomical plane of the vocal fold, with 5 samples per plane. Permeability was also found for lamina propria stretched to 10%, 20%, and 30% of initial length to determine the effects of tensile strain on permeability, with 5 samples per level of strain. Results-Permeability was found to be 1.40×10 −13 m 3 s/kg through the sagittal plane, 1.00×10 −13 m 3 s/kg through the coronal plane, and 4.02×10 −13 m 3 s/kg through the axial plane. It was significantly greater through the axial plane than both the sagittal (p=0.025) and coronal (p=0.009) planes. Permeability under strain through the sagittal plane was found to be 1.94×10 −13 m 3 s/kg under 10% strain, 3.35×10 −13 m 3 s/kg under 20% strain, and 4.80×10−13 m3s/kg under 30% strain. The permeability significantly increased after 20% strain (p<0.05). Conclusion-Permeability in canine vocal fold lamina propria was found to be increased along the anterior-posterior axis, following the length of the vocal folds. This may influence fluid distribution within the lamina propria during and after vibration. Similarly, permeability increased after 20% strain was imposed on the lamina propria, and may influence vocal fold dynamics during certain phonation tasks.

While the ontology of musical works is a venerable theme in the philosophy of music, works of classical music have been the primary focus of study. This essay displaces that focus by considering the ontology of musical works in relation to jazz ‘standards’. Responding primarily to realist conceptions of musical works for performance, the essay outlines an emergent, non-essentialist, network-based ontology of jazz standards. By focusing on two key operations—replication and nomination—a philosophical and musicological argument is presented where ‘work-determinative’ properties are shown to be sufficient but not necessary. Under this concept, works are corrigible and subject to mediation. Not only do subsequent performances change the nature of the work, the very act of ‘replication’ (or musical reproduction) requires social mediation. After presenting the argument, a series of broad contrasts are drawn between the network-based concept of musical works and the realist view.

This paper examines the development and use of the temporal subordinator onmang þaet. The development of the subordinator is seen as a special case of grammaticalisation, i.e. incipient grammaticalisation. Onmang þaet arises through the incorporation of the prepositional phrase onmang + demonstrative into the subordinator structure and in this respect onmang þaet resembles the grammaticalisation of other OE subordinators. The grammaticalisation of onmang þaet is however arrested in early ME, as the paper shows using a generative approach. I interpret this turn in the grammaticalisation of the subordinator as indicative of incipient grammaticalisation and I further use this observation as an avenue to identifying other features concomitant with incipient grammaticalisation. What I suggest is that incipient grammaticalisation should be associated with low frequency, minimal erosion, lack of fusion, and, finally, specialisation. I tentatively argue that options reduced via specialisation, as is the case with onmang þaet, may be the ones that qualify as cases of incipient grammaticalisation. Importantly, what follows is that incipient grammaticalisation as discussed in this study is not to be taken as referring to the early stages of grammaticalisation as such but to the grammaticalisation of infrequent structures available for a longer period of time.

This paper examines the development and use of the temporal subordinator onmang þaet. The development of the subordinator is seen as a special case of grammaticalisation, i.e. incipient grammaticalisation. Onmang þaet arises through the incorporation of the prepositional phrase onmang + demonstrative into the subordinator structure and in this respect onmang þaet resembles the grammaticalisation of other OE subordinators. The grammaticalisation of onmang þaet is however arrested in early ME, as the paper shows using a generative approach. I interpret this turn in the grammaticalisation of the subordinator as indicative of incipient grammaticalisation and I further use this observation as an avenue to identifying other features concomitant with incipient grammaticalisation. What I suggest is that incipient grammaticalisation should be associated with low frequency, minimal erosion, lack of fusion, and, finally, specialisation. I tentatively argue that options reduced via specialisation, as is the case with onmang þaet, may be the ones that qualify as cases of incipient grammaticalisation. Importantly, what follows is that incipient grammaticalisation as discussed in this study is not to be taken as referring to the early stages of grammaticalisation as such but to the grammaticalisation of infrequent structures available for a longer period of time.

There are a number of recent replicas of Wolfgang von Kempelen's speaking machine. Although all of them are explicitly based on Kempelen's own description nearly none of them are identical in construction and sound. In this paper we want to illustrate some of these differences and their reasons for five replicas built by ourselves.

Objective-This study aimed to quantify the major elastic properties of human vocal fold lamina propria, including longitudinal and transverse Young's modulus, shear modulus and Poisson's ratio. Methods-Samples were obtained from cadaveric human larynges that were snap frozen within 48 hours postmortem and kept at −82 degrees (F) and thawed overnight in saline solution. Once the sample was tested in the longitudinal direction, two special brackets were glued to the side of each sample and the sample was mounted with brackets in the transverse direction. The shear modulus was obtained from samples mounted between two parallel plates applying shear forces. The Poisson ratio was obtained using high-speed video imaging of two-dimensional samples with markers for longitudinal and transverse strain measurements. Results-Results indicate that human vocal fold elasticity is very nonlinear with slope that increases 10-15 times from low strain to high strain values. Its average low-strain Young's modulus is about 30 kPa in the longitudinal direction and 1 kPa in the transverse direction. The vocal fold longitudinal shear modulus is in the same order of magnitude of its transverse shear modulus (less than 1 kPa). The average Poisson ratio is about 0.57. Conclusions-The current study provides quantitative data for the longitudinal and transverse elastic properties of the human vocal fold tissue and indicates that nonlinear behavior and relative difference of these properties may lead to wide ranges of oscillation frequency and amplitude in human larynges.

experimented with the clue puzzle format dominating the socalled Golden Age of detective fiction in the 1920s and early 1930s. Also like Hammett, Fisher's experiment involves combining classical detective fiction with elements of the newly developing hardboiled formula. Among the ways Fisher's experiment is unique is in its transfer of the detective plot to an allblack setting. As a result, The ConjureMan Dies is the first text to replace the "formulaic combination of characters, settings, and events designed to represent a microcosm of middleclass society" (Grella 42) with characters, settings, and events designed to represent a microcosm of urban black society. [1] The plot of The ConjureMan Dies centers on the murder of N'Gana Frimbo, a Harlem conjureman who is also an African king and Harvard graduate. Midway into the investigation, the corpse disappears and, shortly thereafter, Frimbo "resurrects" himself, seated in the very chair on which he had been murdered. Unable to convince the police what they mistook for death to be suspended animation, Frimbo offers to assist the police in finding his wouldbe murderer. Leading the police investigation is Perry Dart, one of the ten black policemen on the Harlem police force and the only black to be promoted from patrolman to detective. Working with Dart is John Archer, a pedantic black physician with a Latinate vocabulary and a penchant for solving crimes. [2] Of equal importance, but overlooked by critics, is Bubber Brown, [3] an exsanitation worker turned private investigator, who works to clear his partner, who has been framed for Frimbo's murder. [4] In the course of the investigation, it is discovered that the murdered victim is not the conjureman but, rather, N'Ogo Frimbo, the conjure man's assistant and fellow countryman. While Archer and Dart, with assistance from Bubber Brown, pursue Frimbo as the murderer, Frimbo-who is innocentpursues the real criminal, whom he reveals at the novel's conclusion, but at the cost of his life.

Diante do conceito de "sabedoria corporal" apresentado por Arthur Lessac, no qual o corpo humano pode trazer à tona suas potencialidades através de uma incursão de autoconhecimento, é possível discutir o ato de criação do ator, levando-se em consideração as idéias de José Gil, ou seja, como uma "experiência" que nos invade e nos atinge o inconsciente. Arrisco dizer que a consciência não está completamente ou não necessariamente inatingível. Segundo Lessac, se pudermos aprimorá-la, resultando em uma prática "despadronizada" no volátil ato de criação teatral, uma experiência ao mesmo tempo "nova" e "revisitada" pode vir a ser impressa na corporeidade e impulsionar o "frescor" da vivência no processo de criação e em cena.

The resultative construction represents a condition or state expressed by a state verb. In addition to using a state verb predicate, the resultative construction can also be expressed by the category of adjectives or other word categories experiencing morphological process. Universally, the resultative construction refers to the state embodied by state verbs or verbalizations and process that reflect a result. Thus, the resultative construction is a resultant construction. The resultative construction shows similarities with the stative construction. However, resultative construction principally differs from stative construction. The resultative construction reveals a condition with no implications whatsoever with regard to the conditions while the stative construction reveals both the condition and the actions that precede it (Nedjalkov dan Jaxontov, 1998: 6). Mathews (1997: 320) states that the resultative construction is the elements in the clause that refer to the result of the action. In other words, the resultative construction is a construction that describes the attainment of a condition experienced by the noun phrase due to the action expressed by the verb predator (Broccias, 2008 :28). The resultative construction in agglutinative languages is expressed through morphological processes. Lamalera dialect (henceforth: LD) is not an agglutinative language (dialect). Thus, LD does not have any morphological strategy to reveal the resultative construction. Language data analysis proves that the resultative and stative constructions in LD are disclosed using a syntactical strategy.

Ovid's work represents Echo in turning from bodily to bodiless shape, from the talkative voice to the surplus of voicelessness. Being punished to repeat the end of the sentences of the speaking-other, Echo is the ultimate figure of metamorphosis and of wandering-always lost in repetitions, always lost to be found in écriture in stone, in engraved narratives of the other, as a ghostly identity of the other. Therefore, Echo is a decentred, meandering voice-a voice only until there is any voice at all. Being the undercurrent of speech, Echo is a figure of fragmented, dismembered, detached speach, a travelling postcard on an errant, wandering course. The mythical Echo creates a sonorous ground to be written upon, only to be multiplied. Belonging to nobody , she is always on her way to die away and close, a voice-thing destabilizing the voice-subject. This research paper deals with the mythic figure of Echo in terms of Gayatri's notion of "deconstructive embrace" and the concept of the subaltern. Can Echo's "fragile auricle" be aligned to "non-mimetical" identity, to multiplicities of repetitions in conflict to the voice-subject, the same and the different at once? Or, if Echo "has no identity proper to itself", as Spivak puts it, what can be lost and found in echoland of identity, in the political space of "the catachresis of response as such"?

Vox-Exo: Horrors of a Voice reframes the Lacanian object a voice as a horrific register of alterity. The object gaze has received, as it does in Jacques Lacan's work, more commentary than voice. Yet recently voice has garnered interest from multiple disciplines. The thesis intervenes in the Slovenian school's commentary of the 'object voice' in terms of two questions: audition and corporeality. This intervention synthesizes psychoanalysis with recent theorizing of the horror of philosophy. In this intervention the object a voice is argued to resonate in lacunae-epistemological voids that evoke horror in the subject. Biological and evolutionary perspectives on voice, genre horror film and literature, music videos, close readings of Freudian and Lacanian case studies and textual analysis of ancient philosophy texts all contribute to an elucidation of the horrors of the object a voice: Vox-Exo. The impetus to address the body stems from a critical intervention in one of the most recent and cited works on voice in Lacan's work; A Voice and Nothing More, by Mladen Dolar. Dolar's trajectory to pursue the 'object voice' is to move from meaning, to aesthetics, to psychoanalysis. Such a move, the expedited turn to Lacanian psychoanalysis, is recalcitrant to tackling the body. This thesis responds to the book's avidity to omit the body from the question of voice. Vox-Exo: Horrors of a Voice, contra the Slovenian School's credo, rearticulates the object a voice in terms of corporeality and audition. The significance the a, that designates other, autre, stated in Lacan's works, and numerous commentaries such as Jacques-Alain Miller's and Stijn Vanheule's, is impressed. With a sustained consideration of corporeality and audition, the unknowability and alterity of a is demonstrated to be a locus of horror. Object a voice is argued to resonate in lacunae, evoking legion, indefinite, horror-a horror. If it was successfully murdered, why does it recur? Does it not know that it is dead?-Dolar 2 This aside of Eugene Thacker's in In The Dust of this Planet: Horror of Philosophy Vol. 1 is one prompt for this thesis, for in it there is an implicit recognition of the question of voice in terms of horror. Voice, in this sense, can be taken up to announce the horror of the subject: a confrontation with a lacuna, an epistemological-or ontological-crisis. A second spark of this thesis, and the most referenced text within, is Mladen Dolar's A Voice and Nothing More. This small book, which emerged from the Slovenian School in 2006, brought the question of voice attention after gaze had been a focus for so long. In explicating the concept of the object voice Dolar, amongst others, make frequent recourse to a horror vocabulary. These two books have little in common. Firstly, Lacan is not mentioned in Thacker's book, whereas Dolar's book came from the school that re-ignited interest in the flamboyant Frenchman who seated himself-did he knot?-on the throne as heir to Freud. In The Dust of this Planet: Horror of Philosophy Vol. 1 turns to a nihilist philosophy to de-center human experience and its Sisyphean thought. A Voice and Nothing More is a psychoanalytical engagement with voice in relation to the signifier wrapped up in a treatise that explicates what Dolar calls 'the object voice'. This thesis takes up Thacker's opening gambit in the horror of philosophy but utilizes it along the way of staging an intervention. The intervention contests Dolar's posit of 'the object voice'. This text seeks to not only explore the gnomic line of Thacker's to elucidate horrors in voice but crucially departs from Dolar's conceptualization of

PURPOSE OF THE STURY The aim of the study was to evaluate the presence of urinary incontinence in patients with chronic degenerative spinal disease and to identify factors affecting the occurrence and changes in urinary incontinence after surgery. MATERIAL The group evaluated comprised 214 patients undergoing surgery for degenerative spinal disease at our department between January 1 and December 31, 2008. The patients were categorised according to the type of their degenerative disease (cervical disc herniation, lumbar disc herniation, spinal stenosis, spinal instability or olisthesis) and the spine level involved (cervical or lumbar spine). The symptoms of urinary incontinence included leakage of urine and non-obstructive chronic urinary retention developing in association with the manifestation of vertebrogenic disorder. Patients with the disea ses known to increase the risk of incontinence were not included in the study. METHODS Based on a retrospective analysis of the patients’...

In this paper, I shall examine the complements of perception verbs in Old English involving a noun phrase and a present participle. What kind of perception is described by these structures? Do they evoke the perception of an event, or that of an entity? It will be shown here that there are good reasons to believe that an NP + present participle sequence could function as the equivalent of the traditional "AcI" construction when used with perception verbs. I shall also attempt to determine to what extent the syntax of this construction matches the semantics: is the internal argument of the perception verb the NP alone, or some kind of combination of the NP and the participle? This question is particularly interesting in the light of Declerck's (1982) remarks on participle perception verb complements in modern English. Finally, I shall take a look at morphological parametres: sometimes the participle inflects to agree with the NP, whereas on other occasions it does not. What might the implications of this kind of variation be?

Cieľ: Cieľom studie bolo analyzovať faktory ovplyvňujuce dentalnu hygienu, medzi ktore patri konzumacia sladkosti a sladených napojov u skolskej mladeže z hľadiska veku a pohlavia a zaroveň analyzovať výskyt dentalnej hygieny pocas dňa. Metodika: Subor respondentov tvorilo 1187 žiakov (620 dievcat a 567 chlapcov) vo veku 11, 13 a 15 rokov v oblasti stredneho Slovenska. Zber udajov prebiehal v obdobi maj 2010 až jun 2010. Na zber udajov bol použitý standardizovaný dotaznik vytvorený pre potreby HBSC studie (Health Behaviour in School - aged Children). Výsledky boli vyhodnotene Chi -kvadrat testom. Výsledky: Sladkosti a kolu v jednotlivých vekových kategoriach konzumuje každý deň alebo viac krat za deň približne tretina respondentov. Výskyt umývania zubov viac ako raz denne je približne rovnaký vo vsetkých vekových kategoriach od 53% u 11 rocných chlapcov do 64% u 15 rocných dievcat. Vo vsetkých vekových kategoriach dievcata udavaju castejsie umývanie zubov v porovnani s chlapcami. Za...

By examining the work of the theatre director Jerzy Grotowski, this thesis seeks to define how Grotowskian performance becomes an initiatory process through ecstasy. Despite several transitions in his work, from 1959 till after his death in 1999 to the present time, its aims and underlying principles have remained unalterable. In the Grotowskian tradition the performer builds up the psyche, in contrast to other acting methods that stress the importance of the role. What Grotowski sought to achieve was the self-development of the performer through transcultural performing and ritual techniques.

The human vocal folds are complex structures made up of distinct layers that vary in cellular and extracellular composition. The mechanical properties of vocal fold tissue are fundamental to the study of both the acoustics and biomechanics of voice production. To date, quantitative methods have been applied to characterize the vocal fold tissue in both normal and pathologic conditions. This review describes, summarizes, and discusses the most commonly employed methods for vocal fold biomechanical testing. Force-elongation, torsional parallel plate rheometry, simpleshear parallel plate rheometry, linear skin rheometry, and indentation are the most frequently employed biomechanical tests for vocal fold tissues and each provide material properties data that can be used to compare native tissue verses diseased for treated tissue. Force-elongation testing is clinically useful, as it allows for functional unit testing, while rheometry provides physiologically relevant shear data, and nanoindentation permits micrometer scale testing across different areas of the vocal fold as well as whole organ testing. Thoughtful selection of the testing technique during experimental design to evaluate a hypothesis is important to optimizing biomechanical testing of vocal fold tissues.

This paper is a comparative corpus-based study of constructions that had the potential of marking future events in Old High German (OHG) and Old English (OE), i.e. modal constructions and those with be/become-verbs. Given the fact that both languages stem from a common source and probably had similar source lexemes for future grams, they nevertheless took diverging paths to develop a future tense, with werden in German and will/shall in English. The paper aims at comparing the earliest attestable stages of the two languages, i.e. Old High German and Old English to find out whether there are language internal differences with regard to the patterns of use of the possible source items. The database for our studies consists of OHG and OE text material dating from 790 to 1155, which we consider to be maximally comparable with respect to chronology, text type and content.

Under the supervision of Dr. Tim Smith and Prof. Fred Dick he studies the influence of sound on when and where vision orients in complex scenes (including film and naturalistic environments), and how this affects perception and memory. He is experienced in quantifying active vision with eye-tracking, utilizing psychophysical and behavioral measures to address how sound (music, dialogue, sound-effects) can orient attention through time.

The paper attempts to trace the relevance of the work of Slavoj Žižek in the field of practical opera composition, taking as example the Greek contemporary opera Anthony's Death, which dramatizes a multitude of Žižekian topics and concludes with a sung Žižek text. The paper argues that the tension between the dimensions of Meaning and Voice is constitutive of the genre of opera itself, and exhibits the strategies used by Anthony's Death to thematize this disjunction. The work's structure is then examined (a) as an attempt to artistically render several Žižekian topoi (especially the opposition of the Symbolic/Imaginary and the Real) and (b) from the point of view of the different uses it subjects Žižek's text to. The vicissitudes of thought submitted to musical treatment are considered next, and it is argued that a "fall" from Meaning into Sound is inevitable when abstract thought is sung. Finally, the importance of Žižek's work for contemporary opera is located on the level of operatic form, for which it is asserted that it has the ability to act as a potentially vivifying catalyst.

This thesis contains an ethno-phenomenological study of actors' experiences of performing in theatre. The methodology of the investigation was developed from the traditions of phenomenology and ethnography, with particular attention given to phenomenological reduction as espoused by Husserl. There are two distinct threads of inquiry that are juxtaposed with each other in order to understand actors' experiences and the contingencies that accompany such experiences. First, there is a 'wide' examination of factors that impinge on or foster experience for actors. Second, there is a 'deep' and 'narrow' examination of the performance experiences themselves, gathered from a small selection of actors. Both threads, while different in approach, are complementary and are necessarily positioned together. The study also examines the sedimentation that undergirds such experiences, including actor training, with 'sedimentation' conceived to be a set of accumulated memories and practices embodied in an actor that are often linked to training. 35 Carrithers, Collins, et al. (1985) explore the complex history and cultural specificity of the term 'self'. Markus & Kitayama (1991) suggest that different cultures have vastly different notions of the individual self. In Asian cultures, they suggest, there is a greater notion of connectedness, compared to the West. I want to locate 'self ', phenomenologically and auto-ethnographically, as both that position which a person conceives him or herself to be in within their socio-cultural and familial frame and their own internal self-awarenesses. Zamir (2010) considers acting to be an existential amplification of the 'self' of an actor, where imaginative possibilities are actualised in an expansive rendering of the 'self' of an actor. 36 The term 'baggage' is used in the popular colloquial sense of what a person carries that weighs them down. These could be memories, conflict or issues of personality, even concerns with body and interpersonal perception. The term is not meant in a derogatory sense but implies what weighs on an actor as a preperformative condition.