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.

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.

The Hieroi Logoi (or "Sacred Tales") of Aelius Aristides presents a unique first-person narrative from the ancient world-one that seems at once public and private, artful and naive. A prominent rhetor among the educated elite of second-century Asia Minor, Aristides produced a substantial body of polished discourses, declamations, and hymns. Within his oeuvre, however, the unparalleled Logoi stand out, and while scholars have embraced it as a rich source for Imperial-era religion, politics, and elite culture, the style of the text has presented a persistent stumbling block to literary analysis. Setting this dream-memoir of illness and divine healing in the context of Aristides' professional concerns as an orator, this book investigates the text's rhetorical aims and literary aspirations. At the Limits of Art argues that the Hieroi Logoi is an experimental work. Incorporating numerous dream accounts and narratives of divine cure in a multi-layered and open text, Aristides works at the limits of rhetorical convention to fashion an authorial voice that is transparent to the divine. Reading the Logoi in the context of contemporary oratorical practices, and in tandem with Aristides' polemical orations and prose hymns, the book uncovers the professional agendas motivating this unusual self-portrait. Aristides' sober view of oratory as a sacred pursuit was in tension with a widespread contemporary preference for spectacular public performance. In the Hieroi Logoi, he claims a place in the world of the Second Sophistic on his own terms, offering a vision of his professional inspiration in a style that pushes the limits of literary convention.

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.”