Chapter 3 demonstrates why Libyan, Syrian, and Yemeni mobilization was weak before the Arab Spring. The author shows how two transnational social forces--transnational repression and conflict transmission--depressed and deterred anti-regime mobilization by embedding diasporas in authoritarian systems of control and sociopolitical antagonisms through members' home-country ties.

Chapter 1 provides the theoretical justification for the book and proposes a new framework for explaining what scholar Albert Hirschman calls "voice" after "exit" against authoritarian regimes.

Chapter 7 shows how diaspora activists’ interventions in the Libyan, Syrian, and Yemeni Arab Spring were shaped by the relative degree of geopolitical support for the cause from their host-country governments and influential third parties, including states bordering the home-country, international institutions, and the media.

Chapter 5 describes differences in activists’ collective interventions for rebellion and relief. Moss demonstrates how diaspora movements adopted a common transnational repretoire of (1) broadcasting their allies’ plight to the outside world, (2) representing the cause to the media and policymakers, (3) brokering between allies, (4) remitting tangible and intangible resources homeward, and (5) volunteering in person on the front lines and along border zones. However, not all diaspora movements played a congruent role in the uprisings. While Libyans in the United States and Britain played what the author calls a "full-spectrum" role in the revolution for its duration, Syrians and Yemenis did not. The chapters to follow explain how and why.

Chapter 3 is concerned with the place of desire and disembodiment in queer musical experience. Taking as its focus the writings of John Addington Symonds, this chapter examines the representation of the voice of the chorister in late Victorian literature. The fetishization of the chorister in pederastic texts by Symonds and John Gambril Nicholson forms part of a broader eroticization of childhood innocence in Victorian culture. An examination of Victorian vocal treatises shows how such vocal innocence is figured as arising from the renunciation of the body. In this respect, Symonds’s desire for the singing voice can be understood in the light of psychoanalytic models in which the voice is understood as a Lacanian ‘lost object’. The pederastic listening practices engaged in by Symonds and his contemporaries invite a reassessment of the frequent idealization in queer studies of the singing voice as a space in which sexual desire may be freely and unproblematically explored. The discussion draws upon recent work in queer studies calling for closer engagement with those shameful and embarrassing aspects of queer history that many in the queer community today might prefer to forget.

Around 1800, the human voice was not only considered a musical instrument; it also served as a central motif in the national historiography of music. This chapter investigates a popular source in German-speaking music pedagogy on the systematic education of the (primarily female) voice: Nina d’Aubigny von Engelbrunner’s Briefe an Natalie über den Gesang (1st ed. Leipzig 1803, 2nd ed. 1824). This 'manual' is based on thirty-one fictive letters and is heavily charged with stereotypes of 'the Italian'. The chapter discusses the multiple levels on which the idea of a decidedly Italian voice is constructed and shaped against a transnational background. A close reading shows how the voice served as a wide-ranging projection screen beyond strictly musical topics, tackling anthropological, moral, aesthetic and societal questions, all of them attempting to spread clichés of Italian music into German everyday musical life.

Addressing the barriers we put in the way of our writing. The need to be prepared to experiment: all landmark fiction has tried something that hasn’t been tried before. Understanding that ‘failure’ is part of the learning process. Don’t listen to inhibiting inner voices: there is nothing you’re not allowed to write and you can always edit later. Allow yourself substandard drafts – then you have something to build on.

‘Accept the difficulties, expect things to be initially unsatisfactory, and start writing.’

This chapter argues that the complexities of Thackeray’s style play on the conceptual uncertainties embedded in the idea of style itself. It demonstrates that Thackeray’s prose exacerbates the interpretive conundrums posed by the very notion of style, including such puzzles as whether style expresses authorial personality or a more general standard, whether style is the sign of intention or contingency, and whether style is personal or historically contingent. The chapter focuses on the use of first- and second-person pronouns in Vanity Fair (1847) and on the curious third-person autobiography that is Henry Esmond (1852) to argue that Thackerayan style oscillates between two radically distinct affective temperatures: a “hot” style that gets in the reader’s face and a “cold” one that turns away from us, in an alternation between unparalleled effects of intimacy and uncanny feats of distance. The chapter argues that this wavering makes Thackeray’s style particularly suited to an investigation of the historicity of language (the ways living meanings ossify and go dead over time) as well as to an inquiry into the mystery of authorial intention (the question, particularly pointed for Thackeray’s uneven reputation, of whether authors are in control of their own most characteristic effects).

This chapter examines the oratorical tradition of the soapbox speech in Ellison's fiction and describes the similarities between prominent New York orators of the early twentieth century and aspects of the protagonist of Invisible Man.

This chapter investigates Adès’s 2003–4 opera The Tempest in the context of postcolonial theory, arguing that the adaptation considerably transforms the statuses of Caliban, Ariel, and Prospero. I situate the opera within major strands of postcolonial thought of the past half-century, focussing especially on Caliban as a way to explore themes of resistance, identity and diaspora. Identifying the opera’s transformations in the libretto, I then explore how both text and Adès’s music work as ambiguous signifiers of political subtexts, centring on ideas of servitude and power. Touching also on the different aesthetics of the several contrasting productions of the opera, I tie together these different areas to put this operatic Tempest in dialogue with the extensive corpus of critical approaches to the play in literature, film and theatre. I conclude by suggesting that it can be productively analysed in the context of legacies of colonialism and empire in twenty-first-century Britain.

The innovative ways in which the human voice is used in performing Thomas Adès’s operas Powder Her Face, The Tempest and The Exterminating Angel, have ensured sustained critical attention on voice and vocality in these works. There has, however, been little academic scholarship on the role of the voice in Adès’s operas to date. Reconciling hermeneutic approaches to voice, phenomenal song and narrative with a more recent material turn in voice studies, this chapter will discuss a range of interpretatively salient moments in Adès’s operas, in which the sound and activity of the resonant singing voice itself is used as a narrative parameter independently of what these operatic voices have to say. It aims to interrogate the play between voice as embodied sonority and more metaphorical conceptions of voice as vehicle for meaning, as a way to access and understand traits in the relationship between surface and structure, and the use of musical techniques for semantic ends. In doing so, this chapter provides a long-overdue theoretically grounded hearing of the sonorous voices in Adès’s music and of the performers that capture our attention from the operatic stage.

Information structure concerns the relationship between sentence properties and the surrounding discourse: the acceptability of the sentences involved can depend on what has been established by the immediately preceding sentences in the text or conversation. The non-canonical constructions described are passive clauses, extraposition, the existential construction, the ‘it’-cleft construction, pseudo-clefts, dislocation, pre- and post-posing, and reduction. These information-packaging constructions generally have a counterpart which is syntactically more elementary or basic, and although they typically have the same core (logical) meaning as their basic counterpart, they package and present the information of the sentence differently. Our major concern in this chapter will be to describe the syntactic differences between these constructions and their basic counterparts and to investigate the factors which favour or disfavour the use of one of these constructions rather than the more basic counterpart.

This chapter shows that marks of punctuation are continuous with the much larger forms of punctuation that interrupt human experiences in time and space, especially ‘larger relations of voice and body, space and absence’. The chapter shows that punctuation has ‘reciprocal and reflexive relationships’ with what it punctuates while at the same time punctuation marks can work ‘as reminders of and reflections on vocal and bodily presence’.

Like a broad array of core notions in human and social sciences, identity is reformulated with regard to a general anti-Cartesianism. This leads to shifting reified entities to processes and results in a fundamental opening to dynamic plurality and to contextualizing any phenomenon. This shift can be read as a theoretical and as a societal shift in dominant industrialized countries, but it can also be used as a critique of traditional Western individualism that colonizes through psychological science what is otherwise done through markets and symbolic meanings of things, actions, and persons. In this reading, the term “identity” crystallizes the ideology of individualism. Thus, this chapter uses a nonindividualistic, performative-dialogic approach emphasizing the concrete experience of “languaging.” It broaches two issues emerging through processuality: How can we theorize continuity and coherence within change? How do we articulate the social and the individual to each other? Dialogism framing language and self builds the ground for developing identity as a process occurring in a field of mediated activities generated and shaped by language activities deployed onto that field. This process displays a call-and-reply dynamic of crossing and blending voices. An example illustrates this dynamic, highlighting identity as being called by voices of different types. Finally, the two issues are offered an answer by deconstructing the assumptions of sameness and homogeneity and shifting towards heterogeneity, plurality, and dialogicality that are contained by centripetal and centrifugal forces: identity is an interim, even fragile, stage that continues through the dynamic of call-and-reply of speaking voices.

Chapter 1 provides the theoretical justification for the book and proposes a new framework for explaining what scholar Albert Hirschman calls "voice" after "exit" against authoritarian regimes.

Chapter 7 shows how diaspora activists’ interventions in the Libyan, Syrian, and Yemeni Arab Spring were shaped by the relative degree of geopolitical support for the cause from their host-country governments and influential third parties, including states bordering the home-country, international institutions, and the media.

Chapter 3 demonstrates why Libyan, Syrian, and Yemeni mobilization was weak before the Arab Spring. The author shows how two transnational social forces--transnational repression and conflict transmission--depressed and deterred anti-regime mobilization by embedding diasporas in authoritarian systems of control and sociopolitical antagonisms through members' home-country ties.