Word: voiceã
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...will be interesting to me to see what ‘voice?? she adopts while in government service, and whether any of the issues on which she worked for this thesis emerge,” Winter says, “and then to see just how she brings her insights on national identity and culture to play without down-grading culture, as Israel and the Palestinian people move toward more productive discourse...
...Voice??s ‘Harvardfml’ message board is one of the most fascinating projects I’ve seen in my time here, one that serves to express more about the Harvard undergraduate community than Yardfest, The Game or Ec10 combined. Whether or not the intention was to provide a new mechanism by which to examine life here, or just act as a local application of the popular fmylife blog, is irrelevant to me. By this point, Harvardfml has been around long enough that we can begin assessing its effects on Crimson culture. I like...
Francisco’s material often lampoons contemporary movies, music—he can produce compelling “techno” using only his voice??and culture. His ability to impersonate famous personalities, various ethnic accents, and characters from films has primarily contributed to the success of his satire. According to Francisco, developing this talent stems from self-assurance: “Once you get a couple impersonations down, you start to feel confident that you could probably go further.” Although these impressions appear effortless on stage, they often require a good deal...
...then your voice forces open your mouth; — // learn to forget those songs. They elapse.” Though Snow preserves much of the syntax in Rilke’s original, there seems something diluted about the lines. Somehow the causal relation between the “voice?? and the “mouth” is only weakly strung together by the pale “forces.” Compare these lines with the Mitchell: “…Young man, / it is not your loving, even if your mouth / was forced...
...then your voice forces open your mouth; — // learn to forget those songs. They elapse.” Though Snow preserves much of the syntax in Rilke’s original, there seems something diluted about the lines. Somehow the causal relation between the “voice?? and the “mouth” is only weakly strung together by the pale “forces.” Compare these lines with the Mitchell: “…Young man, / it is not your loving, even if your mouth / was forced...