By Adriana Cavarero
The human voice doesn't mislead. the one that is conversing is necessarily published through the singular sound of her voice, regardless of "what" she says. We take this truth for granted―for instance, at any time when a person asks, over the phone, "Who is speaking?" and gets as a answer the well-known utterance, "It's me." ranging from the given area of expertise of each voice, Cavarero rereads the heritage of philosophy via its unusual evasion of this embodied strong point. She indicates how this history―along with the fields it comprehends, comparable to linguistics, musicology, political thought, and reports in orality―might be grasped because the "devocalization of Logos," because the invariable privileging of semantike over phone, brain over physique. lady figures―from the Sirens to the Muses, from Echo to opera singers―provide a vital counterhistory, one during which the embodied voice triumphs over the immaterial semantic. Reconstructing this counterhistory, Cavarero proposes a "politics of the voice" in which the traditional bond among emblems and politics is reconfigured, and in which what concerns isn't the communicative content material of a given discourse, yet relatively who is conversing.
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Extra info for For More than One Voice: Toward a Philosophy of Vocal Expression
Indeed, the woman here does not represent the usual primitiveness of the extrapolitical sphere, but rather the genuine truth of a vocal that forces the political to account for itself in ways that it had not foreseen. The tradition of interpreting sexual difference from the point of view of the semantic thus gets replaced by a perspective that reinterprets this difference from a vocal perspective. Through an obligatory homage to a tradition that wants the woman to be a corporal, singing, and apolitical creature, the revolutionary privileging of the phonic allows Calvino to signify in another way precisely these stereotypically feminine qualities.
12 The sound of the vowels must be added by the one who reads aloud, or rather by the one who reenunciates the prophetic work. It is sound and breath, as they reverberate in the word, which is in the closest relation with the transcendence of God. Indeed, one of the most significant differences between the Hebrew and the Christian traditions has precisely to do with this aspect. In the Hebrew tradition, the sacred Word is first of all a sonorous event, a fact that is confirmed in the very name of the Bible: miqra, or “reading, proclamation” (from the verb qara, “to call, to proclaim, to declare”—present also in the term Koran).
His solitude does not have the romantic tinge of the outsider who rebels against the logic of the system; on the contrary, he is at its center as its key component. It thus becomes crucial that the feminine voice of the song, in the act of revealing the uniqueness of the one who emits it, shows at the same time the relational valence of the vocal sphere. Destined for the ear of another, the voice implies a listener—or better, a reciprocity of pleasure. By breaking through the confines of his exclusively acoustic role, the king is in fact inspired to make of himself a source of sonority.
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