Having written a bestselling book at 22, survived a harrowing battle with anorexia nervosa, and pursued a successful career as a clinical psychologist, Lucy Daniels has led a remarkable life. In With a Woman's Voice: A Writer's Struggle for Emotional Freedom, her first book in 40 years, Daniels shares the experience of overcoming emotional hardships and gaining valuable insights from them, through psychoanalysis, that has enabled her to help others. With a Woman's Voice is Daniels' memoir of the struggles she faces as a writer and a doctor of psychology, struggles that began at a very young age and continued long after the success of her two novels. As the child of a wealthy newspaper family, Daniels was emotionally deprived by her demanding parents and plagued by her own feelings of inadequacy and helplessness. Sent to a mental hospital for treatment of her anorexia, she spent years enduring brutal regimens of electroshock therapy, insulin injections, and force-feedings. It was during this time that she wrote Caleb, My Son. Caleb, My Son became a national bestseller, earning accolades for its portrayal of racial and generational conflict in the South of the 50s. Her second book, High on a Hill, was a fictional account of the time she spent in the hospital. Her novels won her a Guggenheim fellowship and extensive praise. After this early success, Daniels succumbed to writer's block that lasted several decades. She tells in her memoir of her decision to examine and resolve her problems, leading her to seek psychoanalytic treatment while pursuing a doctorate in clinical psychology. After years of examining her difficulties and learning how they could be treated, she created a foundation that helps artists overcome emotional disorders and gain creative insight from both self-examination and psychotherapy. With a Woman's Voice recalls these achievements, and the difficult years that led up to them, with insight, humor, and wisdom. Daniels provides a moving account of

Why are so many women still not properly listened to? Why do they sometimes feel that they're less interesting than they are? Why do they often rush when they speak? Why do some women feel the pressure to sound like little girls? From one of the world's leading experts on the voice comes this call to arms for women to reclaim their voices. Using elements of experience and practice from her prolific career, Patsy Rodenburg examines these questions, and many more, to decipher what lies at the heart of female empowerment. From the age of four, Rodenburg knew that she found communication difficult. Her struggle with her own voice set her on the journey that led her to discover her vocation. She has spent her life re-finding and re-empowering voices, particularly the lost voices of women. Watching her highly intelligent working-class mother and grandmother ignored and often silenced gave her the insight to investigate why that was and how to help women overcome this centuries-old issue. With warmth and humour, Rodenburg interrogates Shakespeare's texts and his presentation of female characters; develops the notion of rhetoric in relation to the female voice; and applies concepts explored in her previous books, including The Three Circles of Energy. And, perhaps most crucially, through arguing that power and voice are directly linked to breath, Rodenburg makes the case that Western society's oppression of women has diminished their natural ability to breathe. Exploring the female voice through practical exercises and stories from the front line, as well as profoundly personal and formative experiences from her own life, Rodenburg defines the art of accessing the voice within and reclaiming the woman's right to speak.

At the end of his second year in Leipzig, J.S. Bach composed nine sacred cantatas to texts by Leipzig poet Mariane von Ziegler (1695-1760). Despite the fact that these cantatas are Bach's only compositions to texts by a female poet, the works have been largely ignored in the Bach literature. Ziegler was Germany's first female poet laureate, and the book highlights her significance in early eighteenth-century Germany and her commitment to advancing women's rights of self-expression. Peters enriches and enlivens the account with extracts from Ziegler's four published volumes of poetry and prose, and analyses her approach to cantata text composition by arguing that her distinctive conception of the cantata as a genre encouraged Bach's creative musical realizations. In considering Bach's settings of Ziegler's texts, Peters argues that Bach was here pursuing a number of compositional procedures not common in his other sacred cantatas, including experimentation with the order of movements within a cantata, with formal considerations in arias and recitatives, and with the use of instruments, as well as innovative approaches to Vox Christi texts and to texts dealing with speech and silence. A Woman's Voice in Baroque Music is the first book to deal in depth with issues of women in music in relation to Bach, and one of the few comprehensive studies of a specific repertory of Bach's sacred cantatas. It therefore provides a significant new perspective on both Ziegler as poet and cantata librettist and Bach as cantata composer.

In this updated study, Polly Kaufman discovers that staff are no longer able to fulfill the National Park Service mission without outside support.

The study takes the received view among scholars that women in the Middle Ages were faced with sustained misogyny and that their voices were seldom heard in public and subjects it to a critical analysis. The ten chapters deal with various aspects of the question, and the voices of a variety of authors - both female and male - are heard. The study opens with an enquiry into violence against women, including in texts by male writers (Hartmann von Aue, Gottfried von Straßburg, Wolfram von Eschenbach) which indeed describe instances of violence, but adopt an extremely critical stance towards them. It then proceeds to show how women were able to develop an independent identity in various genres and could present themselves as authorities in the public eye. Mystic texts by Hildegard of Bingen, Marie de France and Margery Kempe, the medieval conduct poem known as Die Winsbeckin, the Devout Books of Sisters composed in convents in South-West Germany, but also quasi-historical documents such as the memoirs of Helene Kottaner or Anna Weckerin's cookery book, demonstrate that far more women were in the public gaze than had hitherto been assumed and that they possessed the self-confidence to establish their positions with their intellectual and their literary achievements.