Cover

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pp. c-ii

Title

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pp. iii-iii

Copyright

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pp. iv-vi

Contents

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pp. vii-viii

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Introduction: From Excitable Speech to Voice in Motion

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pp. 1-20

Writing hundreds of years before poststructuralist theory, French author Fran├žois Rabelais provides an answer to Judith Butler's queries concerning linguistic agency. In book 4 of Rabelais's Gargantua and Pantagruel, Pantagruel and his fellow sea travelers are startled by disembodied voices they hear in the air. To assuage their fears-"not unnatural;' since ...

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1 Squeaky Voices: Marston, Mulcaster, and the Boy Actor

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pp. 21-65

Perhaps because of the burgeoning industry of Shakespeare films and the late twentieth-century fascination with everything Elizabethan, new students of early modern English drama often are surprisingly familiar with the conditions under which Shakespeare's plays were originally performed, even the very unmodern convention of using boys to play ...

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2 Words Made of Breath: Shakespeare, Bacon, and Particulate Matter

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pp. 66-110

When Philip, the conflicted French monarch of Shakespeare's King John, swears to a peace agreement with England, he gives weight to his words by emphasizing their material composition. It is the physical breath Philip uses to swear his oath of peace that lends authorizing force to his words: "The latest breath that gave the sound of words / Was deep-sworn...

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3 Fortress of the Ear: Shakespeare's Late Plays, Protestant Sermons, and Audience

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pp. 111-159

When Beatrice, the chaste and compromised heroine of Middleton and Rowley's The Changeling, slowly realizes that the servant DePlores is proposing that she give up her virginity to compensate him for killing the man she didn't want to marry, she desperately wishes that she could stop herself from understanding his meaning. Once she is made to hear and ...

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4 Echoic Sound: Sandys's Englished Ovid and Feminist Criticism

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pp. 160-186

In this scene from John Webster's The Duchess of Malfi, Delio's advice that Antonio avoid visiting the Cardinal is reiterated by an eerie echo that Antonio admits is "very like my wife's voice" (5.3.26). Earlier in the play, the Duchess unexpectedly revives from (presumed) death by strangulation to call for ''Antonio" and "mercy" (4.2.342, 345) in an echo of Desdemona's ...

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Epilogue: Performing the Voice of Queen Elizabeth

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pp. 187-196

The figure of Echo captures trenchantly the guiding argument of Voice in Motion: that the voice's distance from, rather than presence in, the body can constitute the conditions of agency. As we saw in the previous chapter, a voice that cannot be located firmly in or connected to a speaker's body threatens men's assumptions about their capacity for vocal control, ...

Notes

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pp. 197-246

Bibliography

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pp. 247-266

Index

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pp. 267-274

Acknowledgments

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pp. 275-277