The middle of the 18th Century saw the birth of a century of striving for political reform in England; not coincidentally, it was also the golden age of the broadside ballad ¿ inexpensive songsheets sold on the street, often targeting popular figures and spreading the word of reform efforts. Scholar and singer Dick Holdstock traces the history of this tumultuous period with a collection of 120 songs from the popular presses of the day, all with appropriate tunes, extensive commentary, and rich illustrations from contemporary publications.

Speak. Laugh. Cry. Shout. Scream. Sing. Whether you're an actor or a singer, your voice is called upon to do many things. But how do you keep your voice healthy while satisfying these demands? Theatre voice specialist Joan Melton is uniquely qualified to show how. She maintains that the training of singers and actors should be similar. Her groundbreaking book outlines a course of study that integrates basic elements of singing technique into the whole range of theatre voice training. The physicality of Melton's approach addresses all the issues of concern for professional voice users in any field. Melton's detailed work on phrasing demonstrates the technical similarities between text that is sung and text that is spoken. She supports her suggestions for relating and integrating voice and movement, too-for those in musical theatre who must sing, speak, and dance-with exercises that fully engage the performer physically and vocally. Kenneth Tom contributes a chapter on vocal anatomy, offering clear and accessible material on how the voice works along with practical advice on its care.

A vital record of the lives and testimony of brave people who have come out of the shadows of anonymity.

A new, philosophically grounded theory of the voice—the voice as the lever of thought, as one of the paramount embodiments of the psychoanalytic object. Plutarch tells the story of a man who plucked a nightingale and finding but little to eat exclaimed: "You are just a voice and nothing more." Plucking the feathers of meaning that cover the voice, dismantling the body from which the voice seems to emanate, resisting the Sirens' song of fascination with the voice, concentrating on "the voice and nothing more": this is the difficult task that philosopher Mladen Dolar relentlessly pursues in this seminal work. The voice did not figure as a major philosophical topic until the 1960s, when Derrida and Lacan separately proposed it as a central theoretical concern. In A Voice and Nothing More Dolar goes beyond Derrida's idea of "phonocentrism" and revives and develops Lacan's claim that the voice is one of the paramount embodiments of the psychoanalytic object (objet a). Dolar proposes that, apart from the two commonly understood uses of the voice as a vehicle of meaning and as a source of aesthetic admiration, there is a third level of understanding: the voice as an object that can be seen as the lever of thought. He investigates the object voice on a number of different levels—the linguistics of the voice, the metaphysics of the voice, the ethics of the voice (with the voice of conscience), the paradoxical relation between the voice and the body, the politics of the voice—and he scrutinizes the uses of the voice in Freud and Kafka. With this foundational work, Dolar gives us a philosophically grounded theory of the voice as a Lacanian object-cause.

“Mothers. Those women with purses the size of meat trays that hold an entire deck of school portrait photos and a chequebook, make a casserole without a recipe, make the tightest bed you'll ever sleep in and only swear under extreme duress. How, how, would I go from me to that?” At twenty-four, Meg Mason was newly married to a man “essentially indistinguishable from a young Matt Damon” after landing her dream job writing for The Times in London. Nothing, she told herself, could possibly go wrong. A holiday shortage of birth control and eight months later, she was heavily pregnant and sobbing on the side of a road over trading her career for something she knew zip about. But she soldiered on. One fine Sunday, she invented motherhood by Having a Baby. On Monday, she discovered that a bunch of women had already done that, but still they couldn't tell her how to do it. Thanks to a helpful neighbour, she learned that convincing a newborn to take a bottle by letting it lick a Dorito first to “get more thirsty” didn't always work, but not what to do when your child won't sleep for roughly two years, why making friends at the park is more difficult than meeting deadlines, or how to remove your hand from a stroller—after you've Super-Glued it to the handle. Hair-raising and hilarious, Say It Again in a Nice Voice is the story of Meg’s journey from parenting novice to . . . well . . . Meg With Kids. Along the way she discovers that being a mother, however disaster-prone, might just be the only thing that she is truly irreplaceable at.

This is the little book that started a revolution, making women's voices heard, in their own right and with their own integrity, for virtually the first time in social scientific theorizing about women. Its impact was immediate and continues to this day, in the academic world and beyond. Translated into sixteen languages, with more than 700,000 copies sold around the world, In a Different Voice has inspired new research, new educational initiatives, and political debate—and helped many women and men to see themselves and each other in a different light.Carol Gilligan believes that psychology has persistently and systematically misunderstood women—their motives, their moral commitments, the course of their psychological growth, and their special view of what is important in life. Here she sets out to correct psychology's misperceptions and refocus its view of female personality. The result is truly a tour de force, which may well reshape much of what psychology now has to say about female experience.

One boy's act of kindness sparks a wave of goodwill that circles through his community and eventually comes around back to him.