As a material link between body and culture, self and other, the voice has been endlessly fascinating to artists and critics. Yet it is the voices of women that have inspired the greatest fascination, as well as the deepest ambivalence, because the female voice signifies sexual otherness as well as sexual and cultural power. Embodied Voices explores cultural manifestations of female vocality in the light of current theories of subjectivity, the body and sexual difference. The fourteen essays collected here examine a wide spectrum of discourses, including myth, literature, music, film, psychoanalysis, and critical theory. Though diverse in their critical approaches, the essays are united in their attempt to articulate the compelling yet problematic intersections of gender, voice, and embodiment as they have shaped the textual representation of women and women's self-expression in performance.

How do people use music to heal themselves and others? Are the healing powers of music universal or culturally specific? The essays in this volume address these two central questions as to music‘s potential as a therapeutic source. The contributors approach the study of music healing from social, cultural and historical backgrounds, and in so doing provide perspectives on the subject which complement the wealth of existing literature by practitioners. The forms of music therapy explored in the book exemplify the well-being that can be experienced as a result of participating in any type of musical or artistic performance. Case studies include examples from the Bolivian Andes, Africa and Western Europe, as well as an assessment of the role of Islamic traditions in Western practices. These case studies introduce some new, and possibly unfamiliar models of musical healing to music therapists, ethnomusicologists and anthropologists. The book contributes to our understanding of the transformative and healing roles that music plays in different societies, and so enables us better to understand the important part music contributes to our own cultures.

Six key scholars present a feminist critique of the theory of human rights. The title of this volume, Womens’ Voices, Womens’ Rights, might be taken innocently to indicate its contents: a set of lectures given by women on the rights of women, on the failure to achieve those rights, and on the reasons and remedies for those failures. However, it also implies that womens’ rights are not simply the extension to all members of the community of the agreed-upon rights of men. Is to speak in a woman’s voice to speak in a different voice? Each lecture explores the values of Western societies, and the sources of the oppression of women within them, while many also provide a political contribution to the argument over the international context in which womens’ status seems to be under constant threat. The lectures rest on a shared commitment to the dignity, humanity, and unique individuality of each human persona tenet that underpins the human rights movement, provides the moral impetus for feminism and, indeed, is the motivating force behind Amnesty International’s campaigning on behalf of political prisoners world-wide. Ultimately, the contributors show us that to speak from the perspective of women, to adopt a woman’s voice, is to enrich our understanding of the rights of all.

The emergence of modernity has typically focused on Western male actors and privileged politics and economy over culture. The contributors to this volume successfully unsettle such perspectives by emphasizing the social history, artistic practices, and symbolic meanings of female performers in popular music of Asia. Women surfaced as popular icons in different guises in different Asian countries through different routes of circulation. Often, these women established prominent careers within colonial conditions, which saw Asian societies in rapid transition and the vernacular and familiar articulated with the novel and the foreign. These female performers were not merely symbols of times that were rapidly changing. Nor were they simply the personification of global historical changes. Female entertainers, positioned at the margins of intersecting fields of activities, created something hitherto unknown: they were artistic pioneers of new music, new cinema, new forms of dance and theater, and new behavior, lifestyles, and morals. They were active agents in the creation of local performance cultures, of a newly emerging mass culture, and the rise of a region-wide and globally oriented entertainment industry. Vamping the Stage is the first book-length study of women, modernity, and popular music in Asia, showcasing cutting-edge research conducted by scholars whose methods and perspectives draw from such diverse fields as anthropology, Asian studies, cultural studies, ethnomusicology, and film studies. Led by an impressive introduction written by Weintraub and Barendregt, fourteen contributors analyze the many ways that women performers supported, challenged, and transgressed representations of existing gendered norms in the entertainment industries of China, Japan, India, Indonesia, Iran, Korea, Malaysia, and the Philippines. Placing women’s voices in social and historical contexts, the essays explore salient discourses, representations, meanings, and politics of “voice” in Asian popular music. Historicizing the artistic sounds, lyrical texts, and visual images of female performers, the essays reveal how women used popular music to shape the ideas, practices, and meanings of modernity in various Asian contexts and time frames. The ascendency of women as performers paralleled, and in some cases generated, developments in wider society such as suffrage, social and sexual liberation, women as business entrepreneurs and independent income earners, and particularly as models for new life styles. Women’s voices, mediated through new technologies of film and the phonograph, changed the soundscape of global popular music and resonate today in all spheres of modern life.

The relationship between Islam and feminism is complex. There are many Muslim scholars who fervently promote women's equality. At the same time, there is ambivalence regarding the general norms, terminology, and approaches of feminism and feminist theology. This ambivalence is in large part a product of various hegemonic, androcentric, and patriarchal discourses that seek to dictate legitimate and authoritative interpretations. These discourses not only fuel ambivalence, they also effectively obscure valuable possibilities related to interreligious feminist engagement. Divine Words, Female Voices is the follow-up to Jerusha Lamptey's 2014 book, Never Wholly Other, in which she introduced the idea of "Muslima" theology and applied it to the topic of religious diversity. In this new book, she extends her earlier arguments to contend that interreligious feminist engagement is both a theologically valid endeavor and a vital resource for Muslim women scholars. She introduces comparative feminist theology as a method for overcoming challenges associated with interreligious feminist engagement, reorients comparative discussions to focus on the two "Divine Words" (the Qur'an and Jesus) and feminist theology, and uses this reorientation to examine intersections, discontinuities, and insights related to diverse theological topics. This book is distinctive in its responsiveness to calls for new approaches in Islamic feminist theology, its use of the method of comparative theology, its focus on Muslim and Christian feminist theology in comparative analysis, and its constructive articulation of Muslima theological perspectives.

This collection of essays reassesses the importance of verse as a medium in the long eighteenth century, and as an invitation for readers to explore many of the less familiar figures dealt with, alongside the received names of the standard criticism of the period.