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title: 'Let’s Talk About Unspeakable Things'
title: 'Let’s Talk About Unspeakable Things'
author: 'Angeliki Diakrousi'
author: 'Angeliki Diakrousi'
@ -37,12 +49,14 @@ Throughout this thesis, I am referring extensively to Anne Carson's text *The Ge
>high-pitched, loud shouting, having too much smile in it, decapitated hen, heartchilling groan, garg, horrendous, howling dogs, being tortured in hell, deadly, incredible babbling, fearsome hullabaloo, she shrieks obscenities, haunting garrulity, monstrous, prodigious noise level, otherwordly echo, making such a racket, a loud roaring noise, disorderly and uncontrolled outflow of sound, shrieking, wailing, sobbing, shrill lament, loud laughter, screams of pain or of pleasure, eruptions of raw emotion, groan, barbarous excesses, female outpourings, bad sound, craziness, non-rational, weeping, emotional display, oral disorder, disturbing, abnormal, "hysteria", "Not public property", exposing her inside facts, private data, permits direct continuity between inside and outside, female ejaculation, "saying ugly things", objectionable, pollution, remarkable
>high-pitched, loud shouting, having too much smile in it, decapitated hen, heartchilling groan, garg, horrendous, howling dogs, being tortured in hell, deadly, incredible babbling, fearsome hullabaloo, she shrieks obscenities, haunting garrulity, monstrous, prodigious noise level, otherwordly echo, making such a racket, a loud roaring noise, disorderly and uncontrolled outflow of sound, shrieking, wailing, sobbing, shrill lament, loud laughter, screams of pain or of pleasure, eruptions of raw emotion, groan, barbarous excesses, female outpourings, bad sound, craziness, non-rational, weeping, emotional display, oral disorder, disturbing, abnormal, "hysteria", "Not public property", exposing her inside facts, private data, permits direct continuity between inside and outside, female ejaculation, "saying ugly things", objectionable, pollution, remarkable
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In Ancient Greece, there was a superstition that associated high-pitched voices with evil. Humans, as defined by patriarchy, differ in their nature to other animals, by virtue of their ability to articulate with sound and create ‘logos’ (speech). In the primitive stage of consciousness, "the brain was ‘bicameral’, with the right hemisphere producing uncontrollable ‘voices’ attributed to the gods which the left hemisphere processed into speech" (Ong, 2002, pg. 30). It was after the figure of Odysseus appeared that these voices didn't matter any more and the self-conscious mind was established. The story of Odysseus symbolizes the beginning of Western society, that is based on rationality. He, as a clever man, can resist in any temptation his body falls in- the primitive mind would be allured- by using his brain and speech, and that is why he manages to reach safe to his destination. Through 'logos', humans can develop dialogue and democratic processes of communication and decision- making. All the other forms of expression are considered wild and therefore irrational, including the 'hysterical' exposures of women. Aristotle and his contemporaries believed that vocal sounds were based on physiognomy, particularly the genitals of a person, which is why men speak at a low pitch, because of "the tension placed on a man’s vocal chords by his testicles functioning as loom weights" (Carson, 1996, pg. 119). The high-pitched utterance of women, called 'ololyga', which was a ritual practice dedicated to important events of the life, like the birth of a child or the death of a person, was considered a 'pollution' of civic space. If expressed in public, they would create chaos and provoke madness. In mythology, when Odysseus awakens on the island of Phaiakia, he is "surrounded by the shrieking of women (...) and goes on to wonder what sort of savages or super-natural beings can be making such a racket". These women were Nausica and her girlfriends, described by Homer as "wild girls who roam the mountains in attendance upon Artemis" (Carson, 1996, pg. 125). Similarly Alkaios, an ancient poet that had been expelled from the city, where public assemblies took place, was disgusted by the presence of women’s voices talking 'nonsense'. In the ancient world, women were excluded, occupying the margins of society, the dark and formless space where speech and thus politics, were absent. This disorderly, loud female noise was related to an uncivilized, wild space and sound deemed politically incorrect. It seems like these primitive 'uncontrollable voices' became related to some modes of address that were reminders of the past condition of the human brain, judging it as having a malignant influence.\
In Ancient Greece, there was a superstition that associated high-pitched voices with evil. Humans, as defined by patriarchy, differ in their nature to other animals, by virtue of their ability to articulate with sound and create ‘logos’ (speech). In the primitive stage of consciousness, "the brain was ‘bicameral’, with the right hemisphere producing uncontrollable ‘voices’ attributed to the gods which the left hemisphere processed into speech" (Ong, 2002, pg. 30). It was after the figure of Odysseus appeared that these voices didn't matter any more and the self-conscious mind was established. The story of Odysseus symbolizes the beginning of Western society, that is based on rationality. He, as a clever man, can resist in any temptation his body falls in- the primitive mind would be allured- by using his brain and speech, and that is why he manages to reach safe to his destination. Through 'logos', humans can develop dialogue and democratic processes of communication and decision- making. All the other forms of expression are considered wild and therefore irrational, including the 'hysterical' exposures of women. Aristotle and his contemporaries believed that vocal sounds were based on physiognomy, particularly the genitals of a person, which is why men speak at a low pitch, because of "the tension placed on a man’s vocal chords by his testicles functioning as loom weights" (Carson, 1996, pg. 119). The high-pitched utterance of women, called 'ololyga', which was a ritual practice dedicated to important events of the life, like the birth of a child or the death of a person, was considered a 'pollution' of civic space. If expressed in public, they would create chaos and provoke madness. In mythology, when Odysseus awakens on the island of Phaiakia, he is "surrounded by the shrieking of women (...) and goes on to wonder what sort of savages or super-natural beings can be making such a racket". These women were Nausica and her girlfriends, described by Homer as "wild girls who roam the mountains in attendance upon Artemis" (Carson, 1996, pg. 125). Similarly Alkaios, an ancient poet that had been expelled from the city, where public assemblies took place, was disgusted by the presence of women’s voices talking 'nonsense'. In the ancient world, women were excluded, occupying the margins of society, the dark and formless space where speech and thus politics, were absent. This disorderly, loud female noise was related to an uncivilized, wild space and sound deemed politically incorrect. It seems like these primitive 'uncontrollable voices' became related to some modes of address that were reminders of the past condition of the human brain, judging it as having a malignant influence.\
Today women in public life worry if their voices are too light or high to command respect. Politicians, like Margaret Thatcher, for instance, were trained to learn how to speak in public, to deepen their voice, in order to be taken as seriously as a male speaker would be. Anne Carson (1996, pg. 120) observes that the female voices in public is related to madness, witchery, bestiality, disorder, death and chaos. And thus has to stay hidden from sight.
Today women in public life worry if their voices are too light or high to command respect. Politicians, like Margaret Thatcher, for instance, were trained to learn how to speak in public, to deepen their voice, in order to be taken as seriously as a male speaker would be. Anne Carson (1996, pg. 120) observes that the female voices in public is related to madness, witchery, bestiality, disorder, death and chaos. And thus has to stay hidden from sight.
## Mechanisms of marginalization
## Mechanisms of marginalization
The mechanisms of marginalization of these specific modes of address are based on control and filtering. One example is the repetitive action of self-control that comes from the ancient tactic of controlling emotional exposure of one's own. Carson (1996, pg. 126) says that patriarchal thinking on emotional and ethical matters is related to ‘sophrosyne’, or self- control of the body. A man is feminized when he lets his emotions come out, and so he has to control his body, and subsequently himself. "Females blurt out a direct translation of what should be formulated indirectly" (Carson, 1996, pg. 129). It was believed that the masculine deep voice, by default, indicates self- control. So, the doctors of archaic periods would suggest exercises of oration to men to cure the damage inflicted by repeated use of a loud, high-pitched voice. This means that they would practice public speech so to learn how to filter their inner emotions when they were externalized. In addition to that, so as to be taken seriously, a low-pitched voice would be appropriate to use in public assemblies.\
The mechanisms of marginalization of these specific modes of address are based on control and filtering. One example is the repetitive action of self-control that comes from the ancient tactic of controlling emotional exposure of one's own. Carson (1996, pg. 126) says that patriarchal thinking on emotional and ethical matters is related to ‘sophrosyne’, or self- control of the body. A man is feminized when he lets his emotions come out, and so he has to control his body, and subsequently himself. "Females blurt out a direct translation of what should be formulated indirectly" (Carson, 1996, pg. 129). It was believed that the masculine deep voice, by default, indicates self- control. So, the doctors of archaic periods would suggest exercises of oration to men to cure the damage inflicted by repeated use of a loud, high-pitched voice. This means that they would practice public speech so to learn how to filter their inner emotions when they were externalized. In addition to that, so as to be taken seriously, a low-pitched voice would be appropriate to use in public assemblies and signifies authority.\
The female version of this practice was perceived more as a way for men to silence women when they were loud or screamed from pain or pleasure. Because they weren't able to control themselves by nature, this inability was related to animal and 'primitive' human behaviors. Silencing women, the female ‘sophrosyne’, had been an object of legislative arrangements in the ancient world. Women didn’t have the license to express their ‘noise’ in specific places or events, and there was also a restriction on the duration, the content and the choreography of their rituals in funerals so that they wouldn’t create chaos and delirium. Silencing, today, has also to do with the interruption of women's voice when they express an argument in a dialogue. There was a way to cure the women and city from the chaos. Normally, these unpleasant female tendencies remained hidden from the men’s view because they were deemed annoying, non-human and disorderly. But in Dionysian festivals the task of one selected woman would be to discharge the unspeakable things on behalf of the city, in a practice which was called ‘aischrologia’, that lead to ‘katharsis’, which means the purification of the soul. She was free to express all these weird noises but only then and for the benefit of society. ‘Aischrologia’ seems similar to the therapeutic practice of hypnosis on hysterical women by Freud, who aspired to resurrect this ancient idea. Their emotions, and unspeakable things, were polluting them inside, and employing a ‘talking cure’ or in other words, ‘katharsis’ would help them. Freud's 'talking cure' was concerned with channeling these negative emotions through politically appropriated containers, through 'speech'(Carson, 1996, pg. 132-133).
The female version of this practice was perceived more as a way for men to silence women when they were loud or screamed from pain or pleasure. Because they weren't able to control themselves by nature, this inability was related to animal and 'primitive' human behaviors. Silencing women, the female ‘sophrosyne’, had been an object of legislative arrangements in the ancient world. Women didn’t have the license to express their ‘noise’ in specific places or events, and there was also a restriction on the duration, the content and the choreography of their rituals in funerals so that they wouldn’t create chaos and delirium. Silencing, today, has also to do with the interruption of women's voice when they express an argument in a dialogue. There was a way to cure the women and city from the chaos. Normally, these unpleasant female tendencies remained hidden from the men’s view because they were deemed annoying, non-human and disorderly. But in Dionysian festivals the task of one selected woman would be to discharge the unspeakable things on behalf of the city, in a practice which was called ‘aischrologia’, that lead to ‘katharsis’, which means the purification of the soul. She was free to express all these weird noises but only then and for the benefit of society. ‘Aischrologia’ seems similar to the therapeutic practice of hypnosis on hysterical women by Freud, who aspired to resurrect this ancient idea. Their emotions, and unspeakable things, were polluting them inside, and employing a ‘talking cure’ or in other words, ‘katharsis’ would help them. Freud's 'talking cure' was concerned with channeling these negative emotions through politically appropriated containers, through 'speech'(Carson, 1996, pg. 132-133).
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@ -50,9 +64,14 @@ The female version of this practice was perceived more as a way for men to silen
### Shut out of the public: Opposition of public and private space
### Shut out of the public: Opposition of public and private space
Ancient Greek thinkers had set the gender binary and its reflection in space. The very first example of silecing of women indicated in literature, is in *Odyssey* where the young son of Odysseus, Telemachus, is in the great hall of the palace and describes the difficulties of Greeks warriors to return home. Then his mother,Penelope, asks him to change subject, because it is sad, and he says to her that speech is a man's business and that she should return to her private room and do her own business (Beard, 2017). This is how Western society starts with women's voices being excluded from public sphere. According to Kevin Fox Gotham (Ελιάνα Καναβέλη, 2012), territorial restrictions, identities and meanings are negotiable, as they are defined through social interaction and controversy. Thus, space is the material of human action and the outcome of social interactions. Western philosophical thought, based on ancient social structures, supports the division between the private and public domains. In public space everybody should be civilized and resolve conflicts through dialogue, but the interior of private spaces is ruled by a domestic power where violence is permitted. This separation has reached a point where men are the main political operators in public space. But the division is also between politicians and citizens, natives and immigrants, and experts and amateurs in rhetoric. Representations of gender and space are not immutable, but they consolidate dominant realities because of their repetition. Outside public spaces have historically been the main arena for male-gendered subjects. Public spaces reflect gender constructions that privatize men, and female subjects are expressing their needs and desires through male figures. The social life of the latter is restricted by the 'housewifization' and the private abode of the house. Dichotomy of public and private...\
Ancient Greek thinkers had set the gender binary and its reflection in space. The very first example of silecing of women indicated in literature, is in *Odyssey* where the young son of Odysseus, Telemachus, is in the great hall of the palace and describes the difficulties of Greeks warriors to return home. Then his mother,Penelope, asks him to change subject, because it is sad, and he says to her that speech is a man's business and that she should return to her private room and do her own business (Beard, 2017). This is how Western society starts with women's voices being excluded from public sphere. According to Kevin Fox Gotham (Ελιάνα Καναβέλη, 2012), territorial restrictions, identities and meanings are negotiable, as they are defined through social interaction and controversy. Thus, space is the material of human action and the outcome of social interactions. Western philosophical thought, based on ancient social structures, supports the division between the private and public domains. In public space everybody should be civilized and resolve conflicts through dialogue, but the interior of private spaces is ruled by a domestic power where violence is permitted. This separation has reached a point where men are the main political operators in public space. But the division is also between politicians and citizens, natives and immigrants, and experts and amateurs in rhetoric. Representations of gender and space are not immutable, but they consolidate dominant realities because of their repetition. Outside public spaces have historically been the main arena for male-gendered subjects. Public spaces reflect gender constructions that privatize men, and female subjects are expressing their needs and desires through male figures. The social life of the latter is restricted by the 'housewifization' and the private abode of the house. Dichotomy of public and private...\
The dominant notion that men are the main operators within the public sphere, together with the idea that women are vulnerable and weak, leads to the normalization of fear of women in outside spaces. The idea that women are excluded from public space because of male violence doesn't mean that men directly exclude women. There are complicated power relations that create this exclusion. Freedom of speech relates to political participation, and in theory everyone can have it, but in practice unwritten rules and power relations define what is going to be said, and to whom. The factor of fear intervenes in this. These rules construct the public sphere and restrict female subjects in expressing harmless thoughts. Throughout history, women can defend publicly themselves and their concerns in extreme circumstances, like when they have been raped, but not speak for men or their community (Beard, 2017). But even women that do claim their public voice they are treated as monsters or freakish androgynes...example of stein... The voices and speeches of women in public are directed to 'non-listening ears'. In Radio Fresh in Syria, an example that will be mentioned in the next chapter, when women started to broadcast and host their own radio programs, an extremist group stopped them from keep speaking on air. They refused to listen to whatever they want to say, because they are women. They perceive female voices in public as a form of 'nakedness'. However, when women transformed technically their voices to male- technicians helped them to change electronically the quality of their voice as they speak in the microphone- everybody would listen carefully to their words. For the purpose of making their own radio programme and include their voices in airwaves they changed their gender of their voice. Their female body accepts a distortion in male. *Being somehow both interior and exterior, of a body and not of a body? Live, embodied and (always potentially) mediated, disembodied?*
The dominant notion that men are the main operators within the public sphere, together with the idea that women are vulnerable and weak, leads to the normalization of fear of women in outside spaces. The idea that women are excluded from public space because of male violence doesn't mean that men directly exclude women. There are complicated power relations that create this exclusion. Freedom of speech relates to political participation, and in theory everyone can have it, but in practice unwritten rules and power relations define what is going to be said, and to whom. The factor of fear intervenes in this. These rules construct the public sphere and restrict female subjects in expressing harmless thoughts. Throughout history, women can defend publicly themselves and their concerns in extreme circumstances, like when they have been raped, but not speak for men or their community (Beard, 2017). But even women that do claim their public voice they are treated as monsters or freakish androgynes...example of stein... The voices and speeches of women in public are directed to 'non-listening ears'.
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In Radio Fresh in Syria, an example that will be mentioned in the next chapter, when women started to broadcast and host their own radio programs, an extremist group stopped them from keep speaking on air. They refused to listen to whatever they want to say, because they are women. They perceive female voices in public as a form of 'nakedness'. However, when women transformed technically their voices to male- technicians helped them to change electronically the quality of their voice as they speak in the microphone- everybody would listen carefully to their words. For the purpose of making their own radio programme and include their voices in airwaves they changed the gender of their voice. Their female body accepts a distortion in male. *Being somehow both interior and exterior, of a body and not of a body? Live, embodied and (always potentially) mediated, disembodied?*
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## The Roots of Collective Voice
## The Roots of Collective Voice
The voice is a medium for collective practice. According to Walter Ong (2002, pg. 67), "[o]ral communication unites people in groups. Writing and reading [of literate cultures] are solitary activities that throw the psyche back on itself". Orality, or thought and verbal expression which is not based on writing and reading skills, has still a presence in contemporary Western cultures. It has been transformed into a new orality that "has striking resemblances to the old in its participatory mystique, its fostering of a communal sense, its concentration on the present moment (...) But it is essentially a more deliberate and self-conscious orality" (Ong. pg.13). However, the rational individualistic democracy stands against this collective vocalization that includes the sounds of all the other species and marginalized genders. But mainly it is a reminder of a primitive human mode of address that creates alienation and feelings of fear of looking back.
The voice is a medium for collective practice. According to Walter Ong (2002, pg. 67), "[o]ral communication unites people in groups. Writing and reading [of literate cultures] are solitary activities that throw the psyche back on itself". Orality, or thought and verbal expression which is not based on writing and reading skills, has still a presence in contemporary Western cultures. It has been transformed into a new orality that "has striking resemblances to the old in its participatory mystique, its fostering of a communal sense, its concentration on the present moment (...) But it is essentially a more deliberate and self-conscious orality" (Ong. pg.13). However, the rational individualistic democracy stands against this collective vocalization that includes the sounds of all the other species and marginalized genders. But mainly it is a reminder of a primitive human mode of address that creates alienation and feelings of fear of looking back.
@ -97,7 +116,6 @@ During the conflict in Syria, a group of people that wanted to broadcast their o
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@ -171,12 +189,18 @@ Rochester: Destiny Books
# Reference list
# Reference list
**pg.?**
*Vocal performance of Katalin Ladik in the film 'Berberian Sound Studio', 2012. Her performance intended to create atmospheres of demonic voices through a woman's body*, screenshot, viewed 24 March 2019, <https://www.youtube.com/watch?v=TY96Ma6YdtQ>.\
**pg.?**
**pg.?**
*Cartoon from Riana Dunkan for Punch magazine*, image, Vázquez, J. F. (2018) ‘There are None so Deaf’, in Eckhardt, J., Grounds for Possible Music: On Gender, Voice, Language, and Identity. Errant Bodies Press, pp. 18–24.\
*Cartoon from Riana Dunkan for Punch magazine*, image, Vázquez, J. F. (2018) ‘There are None so Deaf’, in Eckhardt, J., Grounds for Possible Music: On Gender, Voice, Language, and Identity. Errant Bodies Press, pp. 18–24.\
**pg.?**
**pg.?**
*Cartoon from Gonzalo Rocha*, image, viewed 24 March 2019, <https://punch.photoshelter.com/gallery-image/Riana-Duncan-Cartoons/G0000Bx1FqQLTU1M/I0000eHEXGJ_wImQ>.\
*Cartoon from Gonzalo Rocha*, image, viewed 24 March 2019, <https://punch.photoshelter.com/gallery-image/Riana-Duncan-Cartoons/G0000Bx1FqQLTU1M/I0000eHEXGJ_wImQ>.\
**pg.?**
*Piece 'Mach 20', album 'United States Live', from Laurie Anderson for 'The New Show' Season 1 (only season) Episode 8, March 16, 1984. She performs a male figure and her voice is electronically transformed in male*, screenshot, viewed 24 March 2019, <https://www.youtube.com/watch?v=SirOxIeuNDE>.\
**pg.5**\
**pg.5**\
*A sculpture of Baubo, Greek godess of sacred and sexual humor*, image, viewed 4 March 2019, <https://qph.fs.quoracdn.net/main-qimg-60fe5061a107c045467540251797ad86>.\
*A sculpture of Baubo, Greek godess of sacred and sexual humor*, image, viewed 4 March 2019, <https://qph.fs.quoracdn.net/main-qimg-60fe5061a107c045467540251797ad86>.\
@ -194,7 +218,5 @@ Gibbs, *Speech Matters: Violence and the Feminist Voice*, image, viewed 4 March
**pg.15**\
**pg.15**\
Miranda Zúñiga, *The Broadcast Cart transmitting*, image, viewed 4 March 2019, <http://www.ambriente.com/wifi/images/speaker1.jpg>.\
Miranda Zúñiga, *The Broadcast Cart transmitting*, image, viewed 4 March 2019, <http://www.ambriente.com/wifi/images/speaker1.jpg>.\
*Temporary Local Broadcast in action by artist Jack James*, image, viewed 4 March 2019, <http://www.metalculture.com/wp-content/uploads/DSC_16111.jpg>.\
*Temporary Local Broadcast in action by artist Jack James*, image, viewed 4 March 2019, <https://static1.squarespace.com/static/53dabea7e4b06489b309657a/55645642e4b0b17b146b9ebf/55645659e4b08b2ebc72bb28/1432639069240/DSC_1595.JPG?format=750w>.
*Temporary Local Broadcast in action by artist Jack James*, image, viewed 4 March 2019, <https://static1.squarespace.com/static/53dabea7e4b06489b309657a/55645642e4b0b17b146b9ebf/55645659e4b08b2ebc72bb28/1432639069240/DSC_1595.JPG?format=750w>.
