Francesco Venturi – författare

This book explores what pulse phonation is, what it can do, and how it develops into a cultural practice. It is a multidisciplinary inquiry that merges theoretical frameworks with embodied practice to discuss the processes of producing and perceiving pulse phonation, its use and significance in contemporary discourse, its functions in the animal world, and its place in a broader reflection on voice and sound production. It presents a thorough investigation of pulse phonation to jointly take into consideration its sociocultural, bioacoustic, and creative dimensions. In the book, leading scholars and practitioners such as Nassima Abdelli-Beruh, Diana Sidtis, Katherine Meizel, and John Nix present a wide array of approaches, from sociolinguistics and voice anatomy to acoustic ecology and performance studies. These approaches include case studies of creaky voices across cultures and media; physiology and acoustics of the pulse register; creak singing including possibilities, perspectives, pedagogies; pulse phonation, embodiment, and gender; the “phenomenon of extreme vocal fry”; vocology, somatics, and the disease condition; the use of pulse phonation from live arts to film studies; composition, improvisation, and creation with creak; and the pulse register in animal vocalization. This groundbreaking publication concludes with a multifaceted series of testimonies from users and listeners of creaky voices.

This book explores what pulse phonation is, what it can do, and how it develops into a cultural practice. It is a multidisciplinary inquiry that merges theoretical frameworks with embodied practice to discuss the processes of producing and perceiving pulse phonation, its use and significance in contemporary discourse, its functions in the animal world, and its place in a broader reflection on voice and sound production. It presents a thorough investigation of pulse phonation to jointly take into consideration its sociocultural, bioacoustic, and creative dimensions. In the book, leading scholars and practitioners such as Nassima Abdelli-Beruh, Diana Sidtis, Katherine Meizel, and John Nix present a wide array of approaches, from sociolinguistics and voice anatomy to acoustic ecology and performance studies. These approaches include case studies of creaky voices across cultures and media; physiology and acoustics of the pulse register; creak singing including possibilities, perspectives, pedagogies; pulse phonation, embodiment, and gender; the “phenomenon of extreme vocal fry”; vocology, somatics, and the disease condition; the use of pulse phonation from live arts to film studies; composition, improvisation, and creation with creak; and the pulse register in animal vocalization. This groundbreaking publication concludes with a multifaceted series of testimonies from users and listeners of creaky voices.

Translating Petrarch in early modern Britain gathers twelve essays by international scholars focusing on the translation of Petrarch’s vernacular verse (Canzoniere and Triumphi) into English, from the Tudor age to the mid-seventeenth century (and beyond). Approaching translation as an interpretive process, but also a mode of literary emulation and cultural engagement with Petrarch’s prestigious precedent, the collection explores the complex and interconnected trajectories of both poetic works in English and Scottish literary milieux. While situating each translation in its distinct historical, material, and literary context, the essays trace the reception of Petrarch’s works in early modern Britain through the combined processes of linguistic and metric innovation, literary imitation, musical adaptation and cultural and material ‘domestication’. The collection sheds light on the origins and development of early modern English Petrarchism as part of wider transnational – and indeed, translational—European literary culture.

This volume investigates the various ways in which writers comment on, present, and defend their own works, and at the same time themselves, across early modern Europe. A multiplicity of self-commenting modes, ranging from annotations to explicatory prose to prefaces to separate critical texts and exemplifying a variety of literary genres, are subjected to analysis. Self-commentaries are more than just an external apparatus: they direct and control reception of the primary text, thus affecting notions of authorship and readership. With the writer understood as a potentially very influential and often tendentious interpreter of their own work, the essays in this collection offer new perspectives on pre-modern and modern forms of critical self-consciousness, self-representation, and self-validation.Contributors are Harriet Archer, Gilles Bertheau, Carlo Caruso, Jeroen De Keyser, Russell Ganim, Joseph Harris, Ian Johnson, Richard Maber, Martin McLaughlin, John O’Brien, Magdalena Ożarska, Federica Pich, Brian Richardson, Els Stronks, and Colin Thompson.

This volume investigates the various ways in which writers comment on, present, and defend their own works, and at the same time themselves, across early modern Europe. A multiplicity of self-commenting modes, ranging from annotations to explicatory prose to prefaces to separate critical texts and exemplifying a variety of literary genres, are subjected to analysis. Self-commentaries are more than just an external apparatus: they direct and control reception of the primary text, thus affecting notions of authorship and readership. With the writer understood as a potentially very influential and often tendentious interpreter of their own work, the essays in this collection offer new perspectives on pre-modern and modern forms of critical self-consciousness, self-representation, and self-validation. Contributors are Harriet Archer, Gilles Bertheau, Carlo Caruso, Jeroen De Keyser, Russell Ganim, Joseph Harris, Ian Johnson, Richard Maber, Martin McLaughlin, John O'Brien, Magdalena Ozarska, Federica Pich, Brian Richardson, Els Stronks, and Colin Thompson.