First published in 1986, this title examines a set of English Renaissance texts by Shakespeare, Spenser, Herbert, Marvell and Milton, within the theoretic framework of postmodern thought. Following an opening chapter that argues for the value of this conjunction as a way of understanding literary history, subsequent chapters draw upon Jacques Derrida’s deconstruction of photocentrism and Jacques Lacan’s analysis of the agency of the letter to offer fully theorized readings. Throughout, there is a sustained concern with the transformations of such Ovidian figures as Narcissus and Echo, Perseus and Medusa, Orpheus and Eurydice, and with the echo effects of Virgilian pastoral, as paradigms for the interplay of voice and writing.

This transdisciplinary project represents the most comprehensive study of imagination to date. The eclectic group of international scholars who comprise Imagination and Art propose bold and innovative theoretical frameworks for (re-) conceptualizing imagination in all of its divergent forms.

Do women in classical Hollywood cinema ever truly speak for themselves? In Echo and Narcissus, Amy Lawrence examines eight classic films to show how women's speech is repeatedly constructed as a "problem," an affront to male authority. This book expands feminist studies of the representation of women in film, enabling us to see individual films in new ways, and to ask new questions of other films. Using Sadie Thompson (1928), Blackmail (1929), Rain (1932), The Spiral Staircase, Sorry,Wrong Number, Notorious, Sunset Boulevard (1950) and To Kill a Mockingbird (1962), Lawrence illustrates how women's voices are positioned within narratives that require their submission to patriarchal roles and how their attempts to speak provoke increasingly severe repression. She also shows how women's natural ability to speak is interrupted, made difficult, or conditioned to a suffocating degree by sound technology itself. Telephones, phonographs, voice-overs, and dubbing are foregrounded, called upon to silence women and to restore the primacy of the image. Unlike the usage of "voice" by feminist and literary critics to discuss broad issues of authorship and point of view, in film studies the physical voice itself is a primary focus. Echo and Narcissus shows how assumptions about the "deficiencies" of women's voices and speech are embedded in sound's history, technology, uses, and marketing. Moreover, the construction of the woman's voice is inserted into the ideologically loaded cinematic and narrative conventions governing the representation of women in Hollywood film.

Helene Cixous (1937-), distinguished not least as a playwright herself, told Le Monde in 1977 that she no longer went to the theatre: it presented women only as reflections of men, used for their visual effect. The theatre she wanted would stress the auditory, giving voice to ways of being that had previously been silenced. She was by no means alone in this. Cixous's plays, along with those of Nathalie Sarraute (1900-99), Marguerite Duras (1914-96), and Noelle Renaude (1949-), among others, have proved potent in drawing participants into a dynamic 'space of the voice'. If, as psychoanalysis suggests, voice represents a transitional condition between body and language, such plays may draw their audiences in to understandings previously never spoken. In this ground-breaking study, Noonan explores the rich possibilities of this new audio-vocal form of theatre, and what it can reveal of the auditory self.

In a world where news and entertainment are controlled by a single corporation, communication becomes a dangerous adventure. Truly Stimulating -Space Coast Press Echo's Voice has a fascinating premise for a science fiction novel and features some complex and intriguing world-building. . The plot is also well set up, with a hook that draws you into the complexities of the story and creates instant sympathy for its trapped heroine. -Scribes World Reviews The story will hook you completely . you will be fully involved in Rick and Echo's adventure. -The Bookdragon Reviews Echo's Voice is a tale of courage and dedication, of a young woman whose spirit refuses to succumb to the temptations of both the serpent and paradise, who accepts hardship with the same dauntless enthusiasm as she does pleasure. It is a warning to all of us not to allow ourselves to be lulled by the sweet voice of those who think they know best about what we should know and believe. -Inscriptions

In A Still, Small Voice, famed psychic Echo Bodine turns to a subject she knows deeply and is passionate about: intuition. Using humorous anecdotes and a positive, readable style, this sequel to Echoes of the Soul explores what intuition is, where it's located, what it sounds like, and how to cultivate it. The author, who comes from a family of psychics, exposes the various internalized voices that can mask one's intuition. These include the voices of parents, grandparents, peers, therapists, significant others, religious figures, and society, along with emotions such as anger, fear, guilt, and despair. The book challenges the cliche that psychic abilities and intuition are the same, or that they are evil. One chapter is devoted to the many practical benefits that come from listening to intuition; another looks at the "faith-building times" in life and how to cope with others' negative reactions to setting off on the spiritual path.

The Sacred Echo challenges readers not to listen for the seemingly distant voice of God as much as to listen for the echo. When God really wants to get your attention, he doesn t just say something once, he echoes. He speaks through a Sunday sermon, a chance conversation with a friend the next day, and even a random email. The same theme, idea, impression, or lesson will repeat itself in surprising and unexpected ways until you realize that maybe, just maybe, God is at work. As God s voice echoe"