The Grain of the Interview: Introducing Diamanda Galás
2007; Taylor & Francis; Volume: 13; Issue: 1 Linguagem: Inglês
10.1080/13534640601094874
ISSN1460-700X
Autores Tópico(s)Schopenhauer and Stefan Zweig
ResumoClick to increase image sizeClick to decrease image size Notes 1. Roland Barthes, ‘From Speech to Writing’, in The Grain of the Voice: Interviews 1962–80, trans. Linda Coverdale (Berkeley: University of California Press, 1991), p.4. 2. Roland Barthes, ‘From Speech to Writing’, p.5. 3. An idea of the extremely careful planning that goes into each performance is provided by the reproduction of Galás's notes for her performance of ‘Wild Women with Steaknives’ in Diamanda Galás, The Shit of God (New York: High Risk, 1996), pp.6–9. 4. Diamanda Galás, ‘Diamanda Galás: Interview with Andrea Juno’, in Angry Women, eds. Andrea Juno & Vivien Vale (San Francisco: Re/Search, 1991), p.10. This interview contains considerable information about Galás and her musical background. 5. Diamanda Galás, ‘Diamanda Galás: Interview with Andrea Juno’, p.10. For a fuller explanation of EQ (equalisation) see Francis Rumsey & Tim McCormick, Sound and Recording: An Introduction (Oxford: Focal, 2002), p.135. 6. Diamanda Galás, ‘Diamanda Galás: Interview with Andrea Juno’, p.10. 7. Michael Flanagan, sleeve‐notes to Plague Mass (London: Mute Records, 1991). 8. Susan McClary, Feminine Endings: Music, Gender, and Sexuality (Minneapolis: University of Minnesota Press, 1991), p.110. 9. Lotte Lehmann, More than Singing: The Interpretation of Songs (Westport: Greenwood, 1975), p.10. 10. Theodor W. Adorno, ‘Commitment’, in Notes to Literature: Volume 2, trans. Shierry Weber Nicholson (New York: Columbia University Press, 1992), p.88. 11. Anne Karpf, The Human Voice (New York: Bloomsbury, 2006), p.222. 12. At times sound is heard but not listened to. Adrian Rifkin, in a discussion of the sonic landscape of Paris, writes that ‘to hear, at the point it becomes to listen, is to constitute random combinations of noise or music as meaning’. To hear is to attend to the means of delivery of a meaning not to the meaning itself. Hearing occurs on the cusp of the shaping of sound into sense. Rifkin, Street Noises: Parisian Pleasure 1900–1940 (Manchester: Manchester University Press, 1993), p.88. 13. I am grateful to Eckart Marchand for his insights concerning Adorno's vocal traits. 14. Anne Karpf, The Human Voice, pp.220–23. 15. Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. Leon S. Roudiez (New York: Columbia University Press, 1982), p.155. 16. Anne Karpf, The Human Voice, p.223. 17. For an analysis of Céline's relation to fascism see my essay ‘Execrable Speech: Louis‐Ferdinand Céline's Bagatelles pour un massacre’, in Textual Ethos Studies or Locating Ethics, eds. Anna Fahraeus & AnnKatrin Jonsson (Amsterdam: Rodopi, 2005), pp.53–66. 18. Jacqueline Rose, ‘Julia Kristeva – Take Two’, in Ethics, Politics, and Difference in Julia Kristeva's Writing, ed. Kelly Oliver (New York: Routledge, 1993), p.51. 19. Julia Kristeva, ‘From One Identity to an Other’, in Desire in Language: A Semiotic approach to Art and Literature, trans. Thomas Gora, Alice Jardine & Leon S. Roudiez (Oxford: Blackwell, 1981), p.145. 20. Julia Kristeva, ‘From One Identity to an Other’, p.51. 21. Michael Rothberg, Traumatic Realism: The Demands of Holocaust Representation (Minneapolis: University of Minnesota Press, 2000), p.47. 22. Primo Levi, ‘On Obscure Writing’, in Other People's Trades, trans. Raymond Rosenthal (London: Abacus, 1991), p.161. 23. Primo Levi, ‘On Obscure Writing’, p.161. 24. Primo Levi, ‘On Obscure Writing’, p.161. 25. Hayden White, ‘Figural Realism in Witness Literature’, parallax, 10:30 (2004), pp.113–24 (p.115) 26. Hayden White, ‘Figural Realism in Witness Literature’, p.115. 27. Robert Antelme, The Human Race, trans. Jeffrey Haight and Annie Mahler (Marlboro, VT: The Marlboro Press, 1992), p.114. 28. Julia Kristeva, ‘On Céline: Music and the “Blunder”’, Jacques Henric interviewer, in Julia Kristeva: Interviews, ed. Ross Mitchell Guberman (New York: Columbia University Press, 1996), p.231. 29. For a discussion of the role played by the physical body in Celan's late work see Rochelle Tobias, The Discourse of Nature in the Poetry of Paul Celan (Baltimore: John Hopkins University Press, 2006), pp.79–117. 30. ‘Nah, im Aortenbogen’, in Paul Celan, Threadsuns, trans. Pierre Joris (Copenhagen: Green Integer, 2005), p.214–15. 31. ‘Alle die Schlafgestalten’, in Paul Celan, Selected Poems, trans. Michael Hamburger (London: Penguin, 1996), pp.344–45. 32. Judith Butler, Bodies that Matter: On the Discursive Limits of “Sex” (London: Routledge, 1993), p.30. 33. Primo Levi, ‘On Obscure Writing’, p.161. 34. Diamanda Galás, ‘Diamanda Galás: Interview with Andrea Juno’, p.14. 35. Julia Kristeva, ‘Giotto's Joy’, in Desire in Language, p.210. 36. Gail Holst‐Warhaft, Dangerous Voices: Women's Laments and Greek Literature (London: Routledge, 1992), p.9. For an examination of Galás's relationship to the tradition of moirológia see Susan J. Leonardi and Rebecca A. Pope, The Diva's Mouth: Body, Voice, Prima Donna Politics (New Brunswick: Rutgers University Press, 1996), pp.228–42. 37. Diamanda Galás, ‘Killing Floor: The Harrowing Spirituals of Diamanda Galás’, Diamanda Galás interviewed by Gracie and Zarkov in Mondo 2000, 8, pp.76–79. 38. I am indebted to Karima Laachir for her extensive observations on the phenomenon of tzarl‐rit. This kind of vocalization is given a famous filmic airing by Gillo Pontecorvo in his Battaglia di Algeri (Italy/Algeria, 1966). 39. Anne Karpf, The Human Voice, p.27. 40. Julia Kristeva, ‘Giotto's Joy’, p.216. 41. Didier Anzieu, The Skin Ego, trans. Chris Turner (New Haven: Yale University Press, 1989), p.167. 42. Gerald Manley Hopkins, ‘No worst, there is none. Pitched past pitch of grief’, in Gerald Manley Hopkins, Poems and Prose (London: Penguin, 1985), p.61. 43. Julia Kristeva, ‘Giotto's Joy’, p.225.
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