In this first book-length study in English devoted exclusively to Haitian women's literature, Myriam Chancy finds that Haitian women have their own history, traditions, and stories to tell, tales that they are unwilling to suppress or subordinate to narratives of national autonomy. Issues of race, class, color, caste, nationality, and sexuality are all central to their fiction--as is an urgent sense of the historical place of women between the two U.S. occupations of the country. Their novels interrogate women's social and political stance in Haiti from an explicitly female point of view, forcefully responding to overt sexual and political violence within the nation's ambivalent political climate.

Silence is essential for the health and well-being of humans and the environment in which they live. Yet silence has almost vanished from our lives and our world. Of all the books that claim to be about silence, this is the only one that addresses silence directly. Silence: A User's Guide is just what the title says: it is a guide to silence, which is both a vast interior spaciousness, and the condition of our being in the natural world. This book exposes the processes by which silence can transfigure our lives--what Maggie Ross calls "the work of silence"; it describes how lives steeped in silence can transfigure other lives unawares. It shows how the work of silence was once understood to be the foundation of the teaching of Jesus, and how this teaching was once an intrinsic part of Western Christianity; it describes some of the methods by which the institution suppressed the work of silence, and why religious institutions are afraid of silence. Above all, this book shows that the work of silence gives us a way of being in the world that is more than we can ask for or imagine.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. What is silence? In a series of short meditations, novelist and playwright John Biguenet considers silence as a servant of power, as a lie, as a punishment, as the voice of God, as a terrorist's final weapon, as a luxury good, as the reason for torture-in short, as an object we both do and do not recognize. Concluding with the prospects for its future in a world burgeoning with noise, Biguenet asks whether we should desire or fear silence-or if it is even ours to choose. Object Lessons is published in partnership with an essay series in The Atlantic.

From the perspective of psychoanalytic criticism and narrative theory, explores how Russian writers have used the frame narrative to write about love and loss. Examines stories by Dostoevsky, Tolstoy, Turgenev, Chekhov, and others. Annotation copyright by Book News, Inc., Portland, OR

The contributions in this volume focus on the ways in which silence and music relate, contemplate each other and provide new avenues for addressing and gaining understanding of various realms of human endeavour. The book maps out this little-explored aspect of the sonic arena with the intention of defining the breadth of scope and to introduce interdisciplinary paths of exploration as a way forward for future discourse. Topics addressed include the idea of 'silent music' in the work of English philosopher Peter Sterry and Spanish Jesuit St John of the Cross; the apparently paradoxical contemplation of silence through the medium of music by Messiaen and the relationship between silence and faith; the aesthetics of Susan Sontag applied to Cage's idea of silence; silence as a different means of understanding musical texture; ways of thinking about silences in music produced during therapy sessions as a form of communication; music and silence in film, including the idea that music can function as silence; and the function of silence in early chant. Perhaps the most all-pervasive theme of the book is that of silence and nothingness, music and spirituality: a theme that has appeared in writings on John Cage but not, in a broader sense, in scholarly writing. The book reveals that unexpected concepts and ways of thinking emerge from looking at sound in relation to its antithesis, encompassing not just Western art traditions, but the relationship between music, silence, the human psyche and sociological trends - ultimately, providing deeper understanding of the elemental places both music and silence hold within world philosophies and fundamental states of being. Silence, Music, Silent Music will appeal to those working in the fields of musicology, psychology of religion, gender studies, aesthetics and philosophy.

This book extends the current discourse on the role of cultural knowledge in qualitative research, especially research conducted by women of color within their own community. Each author reports on her attempts to conceptualize herself as a researcher while simultaneously trying to honor her cultural connectedness and knowledge. As women researchers analyzing the personal and professional contexts in which their research was conducted, the authors argue that their gender, race, religion, and status have played critical roles in their research agendas. They offer a female perspective, though not a feminist critique per se, for they believe that gender does play a significant role in their research efforts. Equally important, they explore the role that race has played in their research, whether as women of color or white women conducting research among people of color. In reflecting on how their unique positionality allows them to understand relationships across many boundaries, the authors observe how, in most cases, because of their position as women and/or people of color, they have not had some of the traditional problems associated with access to multicultural sites. However, they have encountered other issues and they share how, as researchers, they met and resolved these issues for their particular settings. Each author also discusses how, in addressing these issues, she labored to meet the standards of academia, often at a personal cost. This book challenges existing paradigms by questioning the assumption of objectivity in research. It is essential reading--informative, provocative, and engaging--for researchers and students in research methods, women's studies, critical theory, and cross-cultural studies.

CUET-UG Mass Media And Communication Question Bank 2000+ Chapter wise question With Explanations As per Updated Syllabus [ cover all 7 Units] The Units are – Unit-1 : Communication Unit-2: Journalism Unit-3: TV Unit-4: Radio Unit-5: Cinema Unit -6: Social Media Unit-7: New Media

The Sound of Silence explores how non-verbal communication in film, shown primarily through the acting of Ryan Gosling, provides an expressive space in which passive audience viewing is made more active by removing the expository signifier of dialogue. The German Expressionist era may have been brief, but the shadows cast since its end nonetheless loom large. The silhouetted, cigar-wielding men of film noir and their respectively dark, doom-laden haunts mirror the angst-inducing atmospheres of their forebearers, while also introducing the now-familiar figure of the silent hero. Considering the numerous silent hero actors in film history, there's one that stands out in the 21st century like no other: Ryan Gosling. His later career has seen some of the most iconic silent heroes of the past decade, with films such as Drive, Only God Forgives, Blade Runner 2049 and First Man cementing him as the go-to guy for a monosyllabic, taciturn and moody hero whose actions speak louder than words. This book argues that it is Gosling's expressive capabilities that keep audiences compelled by his performances. With the use of non-verbal silence – combined with its counterbalance, sound – a more active, emotive audience response can be achieved. Looking further into this idea through theorists such as Michel Chion and Susan Sontag, the book demonstrates that the sound of silence is one of the most meaningful cinematic sounds of all.

In Speaking of Silence in Heidegger, Wanda Torres Gregory critically analyzes Heidegger’sthoughts on silence. Arguing that silence about silence is a guiding principle in his sparse and often reticent words, Torres Gregory sets out to decipher their elusive meanings. Charting the trajectory of Heidegger’s reflections, from Being and Time to On the Way to Language, she shows that he develops his ideas of silence in increasingly closer relations to his also evolving ideas of truth as the unconcealedness of being/beyng and language as disclosive sonorous saying. Torres Gregory distinguishes between human, primordial, and primeval forms of silence, and the linguistic, pre-linguistic, and proto-linguistic levels at which silence can occur in relation to sonorous speech. While the book focuses on these inner conceptual dynamics, the author remains mindful of Heidegger’s ties to National Socialism and clarifies how his theoretical assumptions allow for oppressive silencing. The book concludes with critical reflections on the later Heidegger’s thinking of silence and proposes alternatives to his claims concerning the sound beyond sounds, the metaphysics of mystical silence, the uniquely linguistic essence of the mortals, and the loud idle talk in the age of modern technology.

This book fills a significant gap in the field by addressing the topic of absence in discourse. It presents a range of proposals as to how we can identify and analyse what is absent, and promotes the empirical study of absence and silence in discourse. The authors argue that these phenomena should hold a more central position in the field of discourse, and discuss these two topics at length in this innovative edited collection. It will appeal to students and scholars interested in discourse analysis and critical discourse analysis.