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001			198019
003			IT-RoAPU
005			20231211163137.0
006			m|||||o||d||||||||
007			cr || ||||||||
008			230808t20132007pau fo d z eng d
020			_a9780812240061 _qprint
020			_a9780812201314 _qPDF
024	7		_a10.9783/9780812201314 _2doi
035			_a(DE-B1597)9780812201314
035			_a(DE-B1597)448986
035			_a(OCoLC)979575935
040			_aDE-B1597 _beng _cDE-B1597 _erda
050		4	_aPR658.V65 _bB58 2007eb
072		7	_aLIT013000 _2bisacsh
082	0	4	_a822/.309353 _222
084			_aonline - DeGruyter
100	1		_aBloom, Gina _eautore
245	1	0	_aVoice in Motion : _bStaging Gender, Shaping Sound in Early Modern England / _cGina Bloom.
264		1	_aPhiladelphia : _bUniversity of Pennsylvania Press, _c[2013]
264		4	_c©2007
300			_a1 online resource (288 p.) : _b5 illus.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aMaterial Texts
505	0	0	_tFrontmatter -- _tContents -- _tIntroduction. From Excitable Speech to Voice in Motion -- _tChapter 1. Squeaky Voices: Marston, Mulcaster, and the Boy Actor -- _tChapter 2. Words Made of Breath: Shakespeare, Bacon, and Particulate Matter -- _tChapter 3. Fortress of the Ear: Shakespeare's Late Plays, Protestant Sermons, and Audience -- _tChapter 4. Echoic Sound: Sandys’s Englished Ovid and Feminist Criticism -- _tEpilogue. Performing the Voice of Queen Elizabeth -- _tNotes -- _tBibliography -- _tIndex -- _tAcknowledgments
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aVoice in Motion explores the human voice as a literary, historical, and performative motif in early modern English drama and culture, where the voice was frequently represented as struggling, even failing, to work. In a compelling and original argument, Gina Bloom demonstrates that early modern ideas about the efficacy of spoken communication spring from an understanding of the voice's materiality. Voices can be cracked by the bodies that produce them, scattered by winds when transmitted as breath through their acoustic environment, stopped by clogged ears meant to receive them, and displaced by echoic resonances. The early modern theater underscored the voice's volatility through the use of pubescent boy actors, whose vocal organs were especially vulnerable to malfunction.Reading plays by Shakespeare, Marston, and their contemporaries alongside a wide range of late sixteenth- and early seventeenth-century texts—including anatomy books, acoustic science treatises, Protestant sermons, music manuals, and even translations of Ovid—Bloom maintains that cultural representations and theatrical enactments of the voice as "unruly matter" undermined early modern hierarchies of gender. The uncontrollable physical voice creates anxiety for men, whose masculinity is contingent on their capacity to discipline their voices and the voices of their subordinates. By contrast, for women the voice is most effective not when it is owned and mastered but when it is relinquished to the environment beyond. There, the voice's fragile material form assumes its full destabilizing potential and becomes a surprising source of female power. Indeed, Bloom goes further to query the boundary between the production and reception of vocal sound, suggesting provocatively that it is through active listening, not just speaking, that women on and off the stage reshape their world.Bringing together performance theory, theater history, theories of embodiment, and sound studies, this book makes a significant contribution to gender studies and feminist theory by challenging traditional conceptions of the links among voice, body, and self.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 08. Aug 2023)
650		0	_aEcho (Greek mythology) in literature.
650		0	_aEnglish drama _y17th century _xHistory and criticism.
650		0	_aEnglish drama _yEarly modern and Elizabethan, 1500-1600 _xHistory and criticism.
650		0	_aSex role in literature.
650		0	_aVoice in literature.
650		4	_aHistory-Medieval 500 to 1500.
650		7	_aLITERARY CRITICISM / Drama. _2bisacsh
653			_aLiterature.
653			_aMedieval and Renaissance Studies.
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.9783/9780812201314
856	4	0	_uhttps://www.degruyter.com/isbn/9780812201314
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780812201314/original
942			_cEB
999			_c198019 _d198019