A landmark survey of disenfranchised literary voices and the forces that seek to silence them—from the influential activist and author of Tell Me a Riddle. With this groundbreaking work, Olsen revolutionized the study of literature by shedding critical light on the writings of marginalized women and working-class people. From the excavated testimony of authors’ letters and diaries, Olsen shows us the many ways the creative spirit, especially in those disadvantaged by gender, class, or race, has been suppressed through the years. Olsen recounts the torments of Herman Melville, the shame that brought Willa Cather to a dead halt, and the struggles of Olsen’s personal heroine Virginia Woolf, the greatest exemplar of a writer who confronted the forces that worked to silence her. First published in 1978, Silences expanded the literary canon and the ways readers engage with literature. This 25th-anniversary edition includes Olsen’s classic reading lists of forgotten authors and a new introduction. Bracing and prescient, Silences remains “of primary importance to those who want to understand how art is generated or subverted and to those trying to create it themselves” (Margaret Atwood, The New York Times Book Review). “A valuable book, an angry book, a call to action.” —Maxine Hong Kingston “Silences helped me to keep my sanity many a day.” —Gloria Naylor, author of Mama Day “[Silences is] ‘the Bible.’ I constantly return to it.” —Sandra Cisneros, author of The House on Mango Street “Silences will, like A Room of One’s Own, be quoted where there is talk of the circumstances in which literature is possible.” —Adrienne Rich, author of Diving into the Wreck

In ""American Silences"", Joseph Anthony Ward offers a unique analysis of the use and effects of silence in modern American realistic art. Beginning with the nineteenth-century literature that laid the foundation for silence in art, he moves to a brief analysis of Sherwood Anderson's ""Winesburg"", Ohio and Ernest Hemingway's ""In Our Time"", showing how they, along with several other crucial works of twentieth-century American realism, incorporate the power of the silent into their expression without sacrificing the subjects and techniques of traditional realism. Examining ""Let Us Now Praise Famous Men"", James Agee's commentary on the life of tenant farmers, documented with photographs by Walker Evans, Ward traces the book's pattern of 'silence, then silence disturbed by sound, and ultimately silence restored'. Ward further supports his theory with a study of Agee's ""A Death in the Family"" and Evans' ""American Photographs"". Ward sees Agee's admiration of photography as a connection between the silence of the scenes he writes about and the silence of Evans' photographs. The use of silence is perhaps even more obvious in the paintings of Edward Hopper. Although throughout the book Ward suggests both the positive and negative qualities of silence in art, Hopper's paintings provide little in the way of postiveness. For Ward, the art of silence is an art of extreme concentration that seeks essences rather than superficiality that nearly transcends realism itself. The theme of silence in American realism is a significant new one, but Ward's interpretation of the prose and his analysis of the photographs and paintings, many of which are reproduced in this book, establish validity for art as the voice of silence.

Concealed Silences and Inaudible Voices in Political Thinking investigates silence as a normal, ubiquitous, and indispensable element of political thinking, theory, and language. It explores the diverse dimensions in which silences mould the different core features of the political, as a highly flexible power resource, both enabling and constraining major social practices, traditions, and currents. Departing from the typical focus on intentional silencing and the dominance of logos, the book instead highlights the concealed and unrecognized ways through which silence pervades socio-political life and adopts the guises of the unspeakable, the ineffable, the inarticulable, and the unconceptualizable. Drawing extensively from historical, philosophical, anthropological, psychoanalytical, theological, linguistic, and literary viewpoints, the book demonstrates the common threads that connect silences to those different disciplines, alongside the features that pull them asunder. In extracting and decoding their political implications, it explores both academic literature and colloquial, everyday discourse. Michael Freeden uses select case-studies to explore topics such as Buddhist nondualism, Locke's tacit consent, the submerging of historical narratives, state neutrality, Pinter's miscommunications and menace, and the separate ways ideologies integrate silence into their beliefs. The book offers an analysis of silence from a multi-perspectival range of disciplines, providing a comprehensive and holistic view of silence and the political.

Over the last half century scholars from a range of disciplines have attempted to theorise silence. Naively we tend to think of silence negatively, as a lack, an emptiness. Yet silence studies shows that silence is more than mere absence. All speech incorporates silence, not only in the gaps between words or the pauses that facilitate turn taking, but in the omissions that result from the necessary selectivity of communicative acts. Thus silence is significant in and of itself; it is a sign that has socially-constructed (albeit context -dependent and ambiguous) meanings. To date, studies of science communication have focussed on what is said rather than what is not said. They have highlighted the content of communication rather than its form, and have largely ignored the gaps, pauses and lacunae that are an essential, and meaningful, part of any communicative act. Both the sociology of science and the history of science have also failed to highlight the varied functions of silence in the practice of science, despite interests in tacit knowledge and cultures of secrecy. Through a range of case studies from historical and contemporary situations, this volume draws attention to the significance of silence, its different qualities and uses, and the nature, function and meaning of silence for science and technology studies.

This book is an attempt to pay deliberate attention to some silences on issues of social, cultural, and political importance that have remained unattended in the field of Computer Assisted Language Learning (CALL). Using an analytical framework developed by the French philosopher and cultural theorist Michel de Certeau, the author demonstrates how silences can actively shape the boundaries of a scholarly field. He argues that a “geography of the forgotten” in the field of CALL undermines the transformative and social justice potential of language teaching by using digital technologies. The book will appeal to graduate students, teacher educators, and academic researchers who are looking for fresh perspectives and innovative ideas for integrating technologies into the curriculum and pedagogy of language education.

The loss of a public voice has implications for both the dominant and the dominated culture.

With examples from a variety of contexts, this book provides a linguistic analysis of the role of silence in language.

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.

Why are second language learners in Japan's universities so silent? This book investigates the perplexing but intriguing phenomenon of classroom silence and draws on ideas from psychology, sociolinguistics and anthropology to offer a unique insight into the reasons why some learners are either unable or unwilling to speak in a foreign language.

Winner of the 2000 Outstanding Book Award presented by the Organizational Communication Division of the National Communication Association Organizing Silence is a thought-provoking look at how silence is embedded in our language, society, and institutions. It provides an overview of the varied philosophical approaches to understanding the role of silence and communication. One particular view of silence/communication, as grounded in political and patriarchal frameworks, is given special attention. The author questions not only how dominant groups silence marginalized members of society, but also how marginalized groups privilege and abandon each other. Sexual harassment is given as an example of material and discursive practices that articulate both a micro and macro level of silence, and accounts of both women and men who have been sexually harassed are provided. The book provides an alternative aesthetic perspective as a way of understanding the realities we create, encouraging alternative ways to listen to the silence, and presenting novel possibilities for future research.