"Brueggemann's assault upon this long-standing rhetorical conceit is both erudite and personal; she writes both as a scholar and as a hard-of-hearing woman. In this broadly based study, she presents a profound analysis and understanding of rhetorical tradition's descendent disciplines that continue to limit deaf people, such as audiology and speech/language pathology.

The room darkens and grows hushed, all eyes to the front as the screen comes to life. Eagerly the audience starts to thumb the pages of their handouts, following along breathlessly as the slides go by one after the other...We're not sure what the expected outcome was when PowerPoint first emerged as the industry standard model of presentation, but reality has shown few positive results. Research reveals that there is much about this format that audiences positively dislike, and that the old school rules of classical rhetoric are still as effective as they ever were for maximizing impact. Renowned communications researcher, consultant, and speech coach Max Atkinson presents these findings and more in a groundbreaking and refreshing approach that highlights the secrets of successful communication, and shows how anyone can put these into practice and become an effective speaker or presenter.

William Safire's invaluable and immensely entertaining Lend Me Your Ears established itself instantly as a classic treasury of the greatest speeches in human history. Selected with the instincts of a great speechwriter and language maven, arranged by theme and occasion, each deftly introduced and placed in context, the more than two hundred speeches in this compilation demonstrate the enduring power of human eloquence to inspire, to uplift, and to motivate. For this expanded edition Safire has selected more than twenty new speeches by such figures as President Bill Clinton, Senator Robert Dole, General Colin Powell, Microsoft's Bill Gates, the Dalai Lama, Edward R. Murrow, Alistair Cooke, the Buddha, and the late Israeli Prime Minister Yitzhak Rabin. They prove that even in a digital age the most forceful medium of communication is still the human voice speaking directly to the mind, heart, and soul.

"Features skits and songs on topics as varied as psychoanalysts, gossip columnists, tourism, silent screen stars, and 'The Gladiola Girl'."--From publisher's website.

“A remarkably entertaining and thought-provoking look at the human voice and all of its myriad functions and sounds . . . Wonderful” (Library Journal, starred review). From Farinelli, the eighteenth-century castrato who brought down opera houses with his high C, to the recording of Johnny B. Goode affixed to the Voyager spacecraft, Let Me Clear My Throat dissects the whys and hows of popular voices, making them hum with significance and emotion. There are murders of punk rock crows, impressionists, and rebel yells; Howard Dean’s “BYAH!” and Marlon Brando’s “Stellaaaaa!” and a stock film yawp that has made cameos in movies from A Star is Born to Spaceballs. The voice is thought’s incarnating instrument and Elena Passarello’s essays are a riotous deconstruction of the ways the sounds we make both express and shape who we are—the annotated soundtrack of us giving voice to ourselves. “Standout pieces include a biography of the most famous scream in Hollywood history; a breakdown of the relationship between song and birdsong; and an analysis of the sounds of disgust. Akin to: A dinner party at which David Sedaris, Mary Roach and Marlon Brando are trying to out-monologue one another.” —Philadelphia Weekly “The beauty of Ellen Passarello’s voice is that it’s so confidently its own . . . I began randomly with her essay wondering what the space aliens will make of ‘Johnny B. Goode’ on the Voyager gold record and couldn’t stop after that.” —John Jeremiah Sullivan, author of Pulphead

“The theatre scholar’s daunting but irresistible quest to recover some echoes of performance of the past has never been more engagingly presented than in Pascoe’s account of tracing the long-silenced voice of Sarah Siddons. Her report is a warm, witty, and highly informative exploration of the methodology and the pleasures of historical research.” —Marvin Carlson, author of The Haunted Stage: The Theatre as Memory Machine During her lifetime (1755–1831), English actress Sarah Siddons was an international celebrity acclaimed for her performances of tragic heroines. We know what she looked like—an endless number of artists asked her to sit for portraits and sculptures—but what of her famous voice, reported to cause audiences to hyperventilate or faint? In The Sarah Siddons Audio Files, Judith Pascoe takes readers on a journey to discover how the actor’s voice actually sounded. In lively and engaging prose, Pascoe retraces her quixotic search, which leads her to enroll in a “Voice for Actors” class, to collect Lady Macbeth voice prints, and to listen more carefully to the soundscape of her life. Bringing together archival discoveries, sound recording history, and media theory, Pascoe shows how romantic poets’ preoccupation with voices is linked to a larger cultural anxiety about the voice’s ephemerality. The Sarah Siddons Audio Files contributes to a growing body of work on the fascinating history of sound and will engage a broad audience interested in how recording technology has altered human experience.