In this unique and readable study, Jon Finson views the mores and values of nineteenth-century Americans as they appear in their popular songs. The author sets forth lyricists' and composers' notions of courtship, technology, death, African Americans, Native Americans, and European ethnicity by grouping songs topically. He goes on to explore the interaction between musical style and lyrics within each topic. The lyrics and changing musical styles present a vivid portrait of nineteenth-century America. The composers discussed in the book range from Henry Russell ("Woodman, Spare That Tree"), Stephen Foster ("Oh! Susanna"), and Dan Emmett ("I Wish I Was in Dixie's Land"), to George M. Cohan and Maude Nugent ("Sweet Rosie O'Grady"), and Gussie Lord Davis ("In the Baggage Coach Ahead"). Readers will recognize songs like "Pop Goes the Weasel," "The Yellow Rose of Texas," "The Fountain in the Park," "After the Ball," "A Bicycle Built for Two," and many others which gain significance by being placed in the larger context of American history.

In this unique and readable study, Jon Finson views the mores and values of nineteenth-century Americans as they appear in their popular songs. The author sets forth lyricists' and composers' notions of courtship, technology, death, African Americans, Native Americans, and European ethnicity by grouping songs topically. He goes on to explore the interaction between musical style and lyrics within each topic. The lyrics and changing musical styles present a vivid portrait of nineteenth-century America. The composers discussed in the book range from Henry Russell ("Woodman, Spare That Tree"), Stephen Foster ("Oh! Susanna"), and Dan Emmett ("I Wish I Was in Dixie's Land"), to George M. Cohan and Maude Nugent ("Sweet Rosie O'Grady"), and Gussie Lord Davis ("In the Baggage Coach Ahead"). Readers will recognize songs like "Pop Goes the Weasel," "The Yellow Rose of Texas," "The Fountain in the Park," "After the Ball," "A Bicycle Built for Two," and many others which gain significance by being placed in the larger context of American history.

This book documents Janet Cardiff's 1999 audio project, The Missing voice (Case Study B), and includes the full audio CD as well as images from this exploration of London's inner city. Part urban guide, part fiction, part film noir, her audio walk entwines the listener in a narrative that shifts through time and space. Intimate, even conspirational, Cardiff has created a psychologically absorbing experience for an audience of one at a time. You find yourself transported back in time. What was that sound? Who is speaking to you? Where does reality end, and what's imagined begin? Also included is an extended essay analyzing the artist's career to date. Born in 1957, in Brussels, Canada, Cardiff works and lives in Alberta and has shown internationally in, among others, London, New York, Berlin, and Vienna. Her work has been included in significant group exhibitions, notably Skulptur Projekte Munster, 1997; Present Tense: Nine Artists in the Nineties, at San Francisco Museum of Modern Art; the 1999 Carnegie International; and the Museum as Muse at New York's Museum of Modern Art.

Reclaim Your Headspace and Find Your One True Voice As a hospital chaplain, J.S. Park encountered hundreds of patients at the edge of life and death, listening as they urgently shared their stories, confessions, and final words. J.S. began to identify patterns in his patients’ lives—patterns he also saw in his own life. He began to see that the events and traumas we experience throughout life become deafening voices that remain within us, even when the events are far in the past. He was surprised to find that in hearing the voices of his patients, he began to identify his own voices and all the ways they could both harm and heal. In The Voices We Carry, J.S. draws from his experiences as a hospital chaplain to present the Voices Model. This model explores the four internal voices of self-doubt, pride, people-pleasing, and judgment, and the four external voices of trauma, guilt, grief, and family dynamics. He also draws from his Asian-American upbringing to examine the challenges of identity and feeling “other.” J.S. outlines how to wrestle with our voices, and even befriend them, how to find our authentic voice in a world of mixed messages, and how to empower those who are voiceless. Filled with evidence-based research, spiritual and psychological insights, and stories of patient encounters, The Voices We Carry is an inspiring memoir of unexpected growth, humor, and what matters most. For those wading through a world of clamor and noise, this is a guide to find your clear, steady voice.

For thirty-two years Ken Steele lived with the devastating symptoms of schizophrenia, tortured by inner voices commanding him to kill himself, ravaged by the delusions of paranoia, barely surviving on the ragged edges of society. In this powerful and inspiring story, Steele tells the story of his hard-won recovery from schizophrenia and how activism and advocacy helped him regain his sanity and go on to give hope and support to so many others like him. His recovery began with a small but intensely dramatic moment. One evening in the spring of 1995, shortly after starting on Risperdal, a new antipsychotic medicine, he realized that the voices that had tormented him for three decades had suddenly stopped. Terrified but also empowered by this new freedom, Steele rose to the challenge of creating a new life. Steele went on to become one of the most vocal advocates of the mentally ill, earning the respect not only of patients and families but also of professionals and policymakers all over America through his tireless devotion to a cause that transformed his life and that of countless others. The Day the Voices Stopped will endure as Ken Steele's testament for all who struggle with this heartbreaking disease.

Mixed Media in Contemporary American Literature: Voices Gone Viral investigates the formation and formulation of the contemporary novel through a historical analysis of voice studies and media studies. After situating research through voices of nineteenth- and twentieth-century American literature, this book examines the expressions of a multi-media vocality, examining the interactions among cultural polemics, aesthetic forms, and changing media in the twenty-first century. The novel studies shown here trace the ways in which the viral aesthetics of the contemporary novel move language out of context, recontextualizing human testimony by galvanizing mixed media forms that shape contemporary literature in our age of networks. Through readings of American authors such as Claudia Rankine, David Foster Wallace, Jennifer Egan, Junot Díaz, Michael Chabon, Joseph O’Neill, Michael Cunningham, and Colum McCann, the book considers how voice acts as a site where identities combine, conform, and are questioned relationally. By listening to and tracing the spoken and unspoken voices of the novel, the author identifies a politics of listening and speaking in our mediated, informational society.

Chaseworld is a study of the foxhunters in the Pine Barrens of Southern New Jersey. Mary Hufford examines the activities that occur before, during, and after foxchases and analyzes the stories that hunters tell about chases. Through these activities and narratives, she contends, Pine Barrens foxhunters have collaboratively constructed an alternate reality—the Chaseworld.