The title of this work derives from Costa-Lima's reading of what is probably the most famous passage in Kant's Third Critique. In Kant's thesis that the results of aesthetic judgment are "generally communicable but without the mediation of a concept," Costa-Lima discovers the necessity to identify and underscore a silence. This silence - these "limits of voice" - becomes the complex metonymy for the central theme of this book, literary experience as a case of aesthetic experience. In pursuing this theme, Costa-Lima views aesthetic and literary experience as a historically limited potentiality and examines the limits of aesthetic experience, which comes from its dependence on contextual requirements. The concern about "limits of voice" is developed on three different levels. First, Costa-Lima focuses, as a historical and systematic condition for aesthetic and literary experience, on subjectivity as the subject's right to speak in his/her own name. Second, he argues that, although historical modes of speaking and experiencing were inscribed into and legitimized by cosmological constructions, subjectivity requires the existence of a context no longer grounded in cosmology, which he refers to as "the Law." Third, he postulates the double dependence of literary and aesthetic experience on the emergence of subjectivity and the existence of "the Law" as its enabling and limiting frame condition. This book answers a challenge that has persisted in literary theory and literary history for almost two decades - how to historicize the concept of literature.

Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?

As humans, we tend to be on the lookout for shortcuts or quick fixes to our problems. Everyone who loses their voice goes on a mad dash to find the cure, the quick fix, the solution that will allow them to get back to life as usual because nobody has time to go on vocal rest.This book is NOT about how to CURE voice loss and vocal fatigue, it's about preventing voice loss and vocal fatigue from happening. There are no quick fixes for vocal damage. This is why I'm so hardcore about singers knowing how to prevent it in the first place. This book is for you if:?Vocal fatigue or voice loss prevents you from experiencing the life you desire?You feel tired after using your voice for an extended period of time?You feel tired after using your voice with more volume than is typical?Voice loss is more normal to you than a healthy voice?You have never experienced any signs of vocal fatigue or voice loss and you want to keep it that wayTo prevent voice loss FOR GOOD, you'll learn my three-step system that must be mastered to achieve lasting results. Individually, these three steps are excellent components of singing, but voice loss prevention will not be possible to achieve without a mastery of all three steps working together. Also, the same three steps you master for your singing are required for your speaking voice too, or you'll still be susceptible to voice loss. Whether you sing, act, speak, or coach people who do these things, after reading this book, you may find you want more custom help implementing what you've learned, and I'd love to coach you. The best place to start is www.getmypowerup.com. Once you implement what you've read in this book, voice loss will no longer be a struggle for you. You'll have uncovered THE SECRET.

Control of the Imaginary was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. In Control of the Imaginary Luiz Costa Lima explains how the distinction between truth and fiction emerged at the beginning of modern times and why, upon its emergence, fiction fell under suspicion. Costa Lima not only describes the continuous relationship between Western notions of reason and subjectivity over a broad time-frame—the Renaissance to the first decade of the twentieth century—but he uses this occasion to reexamine the literary traditions of France, Italy, Spain, Portugal, England, and Germany. The book reconstructs the dominant frames in the European tradition between the Middle Ages and the nineteenth century from the perspective of a Latin American who sees the culture of his native Brazil haunted by unresolved questions from the Northern Hemisphere. Costa Lima manages to synthesize positions from philosophy, anthropology, sociology, psychology, linguistics, and history without separating the theoretical discussion from his historical reconstructions. The first chapter situates the problem and grounds the emergent distinction between truth and fiction in a very close analysis of one of the first European historians, Fernao Lopes, who sets the tone for the condemnation of fiction in the name of the truth of history and the potential for individual interpretation. Costa Lima pursues these notions through the aesthetic debates of the seventeenth and eighteenth centuries to the writings of the French historian Michelet. He also devotes an illuminating chapter to the invention of the strictures imposed on fiction.

Is the government ever justified in restricting offensive speech? This question has become particularly important in relation to communications which offend religious sensibilities. It is often argued that insulting a person's beliefs is tantamount to disrespecting the believer; that insults are a form of hatred or intolerance; that the right to religious freedom includes a more specific right not to be insulted in one's beliefs; that religious minorities have a particularly strong claim to be protected from offence; and that censorship of offensive speech is necessary for the prevention of social disorder and violence. None of those arguments is convincing. Drawing on law and philosophy, this book argues that there is no moral right to be protected from offence and that, while freedom of religion is an important right that grounds negative and positive obligations for the state, it is unpersuasive to interpret constitutional and human rights provisions as including a right not to be caused offence. Rather, we have good reasons to think of public discourse as a space for the expression of all viewpoints about the ethical life, including those which some will find offensive. This is necessary to sustain a society's capacity for self-reflection and change.

An innovator in contemporary thought on economic and political development looks here at decline rather than growth. Albert O. Hirschman makes a basic distinction between alternative ways of reacting to deterioration in business firms and, in general, to dissatisfaction with organizations: one, “exit,” is for the member to quit the organization or for the customer to switch to the competing product, and the other, “voice,” is for members or customers to agitate and exert influence for change “from within.” The efficiency of the competitive mechanism, with its total reliance on exit, is questioned for certain important situations. As exit often undercuts voice while being unable to counteract decline, loyalty is seen in the function of retarding exit and of permitting voice to play its proper role. The interplay of the three concepts turns out to illuminate a wide range of economic, social, and political phenomena. As the author states in the preface, “having found my own unifying way of looking at issues as diverse as competition and the two-party system, divorce and the American character, black power and the failure of ‘unhappy’ top officials to resign over Vietnam, I decided to let myself go a little.”