PROSODY
and the preciousness of life
a site dedicated to the elucidation and practice of prosody
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Over the last 25 years, I've taught various aspects of prosody in contexts as diverse as the Harvard Divinity School, Duke University, SFSU Poetry Center, Laboratorio Alameda in Mexico City, BRIC Arts Media in Brooklyn, HIAP Gallery Agusta in Helsinki, Deep Listening Institute at Rensselaer Polytechnic Institute, Bowery Poetry Club in Manhattan, New School for Social Research, the Robert Wilson Watermill Center and Hofstra University.
In 2006, I co-founded, with choreographer Daria Faïn, an integrative artscience called The Prosody Body, along with its performative body called The Phoneme Choir (subsequently morphed into The Commons Choir).
In spring of 2018, I taught a 3-month prosody course at the Poetry Project at St. Mark's Church in NYC. The course consisted of 11 sessions and was titled Prosody, Privatization, Performance and Peace. This course established the basis for an ongoing, ever-evolving, expansive prosody curriculum, as well as a committed group of participants and practitioners. The course is currently presented under the title Prosody and the Preciousness of Life, continuing prosody's total implication in the composition of our lives.
A prosody program is also currently being proposed as an interactive, trans-disciplinary field in various educational settings. The program could also be considered a very extensive creative writing course, covering, for example, poetry's basic elements of composition, comparative classical and contemporary poetics, evolutionary linguistics, biosemiotics, psychoacoustics, phonosemantics, mantra, and cosmogony.
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general definition of prosody:
Prosody is limitless expression beyond, and encoded within, the lexical limits of language. It's extralinguistic, as well as intrinsic to our impulse to speak. Prosody is, of course, poetry's basic elements of composition: tempo, tension, intensity, timbre, rising and falling intonation, rhyme, meter (and all its metaplasms), duration, cadence, caesura, pause, pitch, sound and syntactic recurrence, and assorted stresses (comprised of loudness, duration and pitch variables). A whisper is purely prosodic, as is a word withheld. Prosody is the overall measure, the music, the manner of making meaning. Pragmatically, emotion, mood, attitude, implied meaning, and the tonal differences between questioning, explaining, exclaiming and commanding, are also prosodic phenomena. Socially, it is by means of prosodic correlates (timbre, intensity, pitch, loudness, formants, frequency contours, interactional response time and speech rate) that we form snap inferences with regard to each other's qualities, character and condition. While conscious use of prosodic elements sets poetry apart from speech, these same elements also constitute speech. And in turn, speech can be set to poetry. This song/speech contrariety is one of the oldest stories on earth... Non-acoustic (retinal/written) transcriptive, typographic devices such as font-choice, boldface, striking-through, overprinting, handwriting, word-spacing, enjambment, line page-placement and use of white space can also be read prosodically, as an extra-lexical score or performance notation. The poem’s stored performance on the page or screen (or in the cloud) might be its only presence, written for no ulterior stage, as pure page or screen prosody untransduced from vocalization, awaiting the metabolic speed of diffusion on paper or speed of light electronic transmission. (And in our soundless reading of writing, prosody is present, perhaps even more boundlessly, in mind.) As a science, prosody can be defined as suprasegmental phonology, focused on the primary correlates of prosody (intensity, pitch, duration, rhythm) of course not necessarily related to poetry. On the other hand, the science of versification (orally transmitted, prehistorically, then written as treatises on pronunciation, articulatory phonetics, phonotactics and appropriate metrics as applied to poetry, tracing back to the Vedic Pratishākhyas, the Dravidian Tolkāppiyam, Aristoxenus's Ἁρμονικὰ στοιχεῖα, Hephaestion's Enchiridion, to name a few) is as old as versification itself. (I think it's fair to say that linguistics itself was conceived for the purposes of poetry.) Defined more broadly, the science of prosody includes a rich array of current linguistic research in areas such as biolinguistics, psychoacoustics, cognitive philology, sociolinguistics, phoniatrics, semiochemical ecology, evolutionary linguistics, phonosemantics, kinesics, biosemiotics, affective prosody, comparative poetics, graphemics, corpus linguistics and choreoprosodia. Yet, these sciences are rarely, if ever, referred to within the teaching and practice of poetry, even though tending to the opaque, material qualities of words is basic to verse. Reciprocally, poets' contribution to linguistic science is, I believe, negligible-to-nonexistent. Of course, literary studies and cultural literary theory and criticism (often written by poets themselves) necessarily focus on the language-art object. Still, a vital interchange, a profoundly integrative, non-polar prosody artscience, has not been part of the curriculum. "I am myself hopeful that linguistic studies will bring to contemporary criticism a vocabulary and method more sensitive to the basic activity of poetry and less dependent upon assumed senses of literary style." Robert Creeley Prosody and gesture are co-occurrences in the same semiotic system, processed in the same areas (Broca's and Wernicke's) of the brain. Motor gestures conduct/accompany/pantomime prosodic expression. Deictic gestures point things out. Iconic gestures like waving goodbye or throwing a kiss substitute for words. Lexical gestures are like non-verbal, semiotic onomatopoeia. Gesture Theory posits that language evolved from manual gesturing. Gesture enactment helps us select and recall words. In effect, articulation is a highly specific sequence of gestures performed by the tongue within the vocal cavity. Gesture is one way in which performance is a part of prosody's multimodality. Prosody conducts conversation, syncs work, organizes play, frees emotion, regulates bioprocesses and modulates mood. "... it’s that I experience myself inside these constantly swerving, intensely physical processes of semiosis. Biochemistry and language just don’t feel that different to me." (Donna Haraway). In terms of evolutionary development, in my approach, prosody is the precursor of both language and music. And ontogenically, prosody (beginning with embryoprosodia and even conception and preconceptive impulses to nurture and parent) is the precious proto-linguistic motherese (Infant Directed Speech). Through tone and touch, we're basically made to be infinitely attentive, receptive, nuanced and loving. Although prosody is conventionally considered a suprasegmental phenomenon, I include the segments (the phonemes) as part of prosody — these few dozen fundamental sounds specific to human phonation, as potencies in themselves. In terms of both physics and metaphysics (say, vibration, invisibility, indivisibility) the elements of composition of poetry — the forces that pattern matter — can be directly experienced as cosmogenic, as background silence, un-caused sound, relic rhythm, the beginning's pre-condition, formative phonemic energy, initial arising re-enacted as the impulse to speak. Prosody includes cosmos as part of nature. Nature makes 'our' nature part of the cosmos. Immateriality of language is also part of prosody. Here, I'm not referring to 'transparency' in contradistinction to 'opacity.' The term 'transparency' is often used to disparage poetry unaware of the physicality of its medium; see-through poetry. Prosody is partnered with the immateriality of mind and the inscrutable arising, presence, disappearance of language. Prosody is formative rhythm, if you prefer. It solves and dissolves the hard problem of the division of energy and matter. Spiritual Prosody, if you will. Perhaps Subtle Prosody. Here, Samuel Beckett's statement is perfectly apt: "All poetry, as discriminated from the various paradigms of prosody, is prayer.” Prosody is that which makes language poetry. Which words? Entheogenic words. Logos is human perception of language by means of prosody. Because language exists at all, words are realization no matter what we say. Prosody inscribes spirituality in language. Vocal, vibrational patterns resume materialization. We speak seed sounds. Sequences of phonemes make mantras and orisons. The sequences, as speech, make interrelationship. (We formed around the phones, once upon a time.) Prosodic Listening picks up total interconnectivity: cross-species call and response and rhythmic entrainment. The unstruck word, anahata-śabda, the deepest listening practice. Patanjali's vāg-yoga, union with words as original. Word after word — grammar — the force for breaking through the doubled door of ignorance and ego. The meters each assigned a divinity. Meaning, however changeable (because contingent) is meant to last forever. For the Vedic rishis and rishikas, it was an initial act of ascesis that brought the world about; an operation dimensionlessness performed on itself; a fervor, if you prefer, embodied by the poets; disciplines and anti-disciplines; basic skills and somatic/energetic practices indispensable to the creation of poetry: nature-of-mind meditation, chant, fasting, withdrawal of the senses, pranayama, kumbhaka, dark retreat, medical practice, ritual, nonconformity, total attunement, lunacy, channel opening, becoming luminous. When appropriate, I've integrated ascetic practices in my teaching. I've always presented prosody as experiential, not as a study or topic per se. Prosody is what is most human about us; conscious, attuned conduct; the totally transformative power of tone of voice and potency of words emanating from insight and heart; the pleasure of rhythmic reciprocity. The role of the poet: the responsibility in picking up the pith elements of composition as the means for realizing one's life in being of benefit to others. The writing of the poem is both a small part of the practice of poetry and all there is to it. I've called this capacious approach 'integrative' or 'implicate' prosody. Conscious Prosody, for balancing; Vestibular Prosody, for forthrightness, for conflict resolution, for bioregulation, for being conscious and caring for each other. Prosody Diagnostics. Dead Giveaway Prosody. It's written all over us. I have been variously practicing, researching, presenting, performing, propagating and publishing prosodic works for over 30 years. In 2006, with choreographer Daria Faïn, I co-founded an experiential art-science named The Prosodic Body. In 2008, in order to put into practice and perform our research, Faïn and I then formed a theater group known as The Phoneme Choir, commingling movement and language as choreoprosodia. In 2010, to apply our practice more directly to social, systemic, civilizational and karmic suffering and wellbeing, the choir morphed into The Commons Choir. In March of 2018 I began teaching a prosody course (through the Poetry Project at St. Mark's Church, grâce à Simone White) titled Prosody Privatization Performance and Peace — a poetry and creative writing course with voice, movement, somatic, medical, meditation, mantra and spiritual practices integral to the teaching. This ongoing course is now called Prosody and the Preciousness of Life. And there will be further iterations and subtitles. Although the course is conceived in series, the individual sessions are also stand-alone presentation/discussions, complete in themselves. While the sessions do, for the most part, follow and fulfill a predetermined sequence, the energetics is also experiential and improvisatory; the sessions react to themselves; they may be out of sequence or in sync with breaking news or participant needs. Although the course is whole at every point, at the same time, the elucidation of prosody is exhausting and inexhaustible. It's prosody's ever-present and impossible wholeness that impels me forward, backward, outward, inward, everywhere, anywhere. 'This' story of prosody, told through the cosmogenic stich that brought the world about (and has continually been updated by poets to this day) with a special focus on contemporary poetry, poetics and the current plethora of prosodic innovations.
LANGUAGE ORIGIN
Altenmuller, Eckart. The Evolution of Emotional Communication: From Sounds in Nonhuman Mammals to Speech and Music in Man. Oxford University Press, 2013.
Arbib, Michael A. (ed.). Language, Music, and the Brain: A Mysterious Relationship. The MIT Press, 2013. read
Brown, Steven. A Joint Prosodic Origin of Language and Music. Frontiers in Psychology, October 2017, Volume 8, Article 1894. read
Chomsky, Noam. On Language: Language and Responsibility and Reflections on Language. New Press, 1998.
Darwin, Charles. Descent of Man, 1871.
Falk, Dean. Linguistic Evolution in Early Hominins: Whence Motherese? Behavioral and Brain Sciences (2004) 27, 491-541. read
Fernald, Anne, and Gerald McRoberts. Prosodic Bootstrapping: A Critical Analysis of the Argument and the Evidence. From “Signal to Syntax: Bootstrapping from speech to Grammar in Early Acquisition” (Eds. James L. Morgan and Katherine Demouth), Brown University, 1996. read
Filippi, Piera. Emotional and Interactional Prosody across Animal Communication Systems: A Comparative Approach to the Emergence of Language. From “Frontiers in Psychology”, September 2016, Volume 7, Article 1393. read
—. Before Babel: The Evolutionary Roots of Human Language. From Biosemiotic Perspectives on Language and Linguistics, Biosemiotics 13, 2015. read
Fitch, Tecumseh W. The Evolution of Language. Cambridge University Press, 2010. LinkProsody Evolution and Language.
—. Glossogeny and Phylogeny: cultural evolution meets genetic evolution. Cell Press, 2008. Link Prosody Fitch
—. The Biology and Evolution of Speech: A Comparative Analysis. Annual Reviews, 2018. read
Kenneally, Christine. The First Word: The Search for the Origins of Language.
Pinker, Steven. The Language Instinct: How the Mind Creates Language. 2007.
Rousseau, Jean Jacques. Essay on the Origin of Languages and Writings Related to Music. Dartmouth, 1998.
Trehub, Sandra. Communication, Music, and Language in Infancy. From “Language, Music, and the Brain,” edited by Michael A. Arbib. 2013. Strüngmann Forum Reports, vol. 10, J. Lupp, series ed. Cambridge, MA: MIT Press. 978-0-262-01810-4. read
POETICS
Abé Ryûichi. The Weaving of Mantra: Kukai and the Construction of Esoteric Buddhist Discourse. Columbia University Press; Revised Edition, 2000.
Alighieri, Dante. De Vulgari Eloquentia (tr. Steven Botterill). Cambridge University Press, 2005.
Allen, Donald. Poetics of the New American Poetry. Irvington Pub, 1973.
Bernstein, Charles. Pitch of Poetry. University of Chicago Press, 2016.
—. Attack of the Difficult Poems: Essays and Inventions. University of Chicago Press, 2011.
Boal, Augusto. Aesthetics of the Oppressed. Routledge, 2006.
Braithwaite, Kamau. History of the Voice: the Development of Nation Language in Anglophone Caribbean Poetry. New Beacon Books, 1984. read
Chernoff, John Miller. Afrrican Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms.
Gonda, J. The Vision of the Vedic Poets. Mouton & Co, 1963. read
Heuving, Jeanne and Tyrone Willams (eds.). Inciting Poetics: Thinking and Writing Poetry. University of New Mexico Press, 2019.
Khlebnikov, Velimir. Collected Works of Velimir Khlebnikov, Volume II: Prose, Plays and Supersagas. Harvard University Press, 1989
—. The King of Time: Selected Writings of the Russian Futurian. Harvard University Press, 1990.
Metres, Philip. The Sound of Listening: Poetry as Refuge and Resistance. University of Michigan Press, 2018.
Milne, Heather. Poetry Matters: Neoliberalism, Affect, and the Posthuman in Twenty-First Century North American Feminist Poetics. University of Iowa Press, 2018.
Mullen, Harryette. The Cracks Between What We Are and What We Are Supposed To Be: Essays and Interviews. University of Alabama Press. 2012.
Notley, Alice. Coming After: Essay on Poetry. University of Michigan Press, 2005.
Perloff, Marjorie, and Craig Dworkin, eds. The Sound of Poetry / The Poetry of Sound. University of Chicago Press, 2009.
Rasula, Jed and Steve McCaffery. Imagining Language: An Anthology. The MIT Press, 1998.
Scappettone, Jennifer. The Republic of Exist 43: Outtakes & Scores from an Archaeology and Pop-Up Opera of the Corporate Dump. Atelos, 2016.
Shockley, Evie. Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry.
Stecopoulos, Eleni. Visceral Poetics. ON Contemporary Practice, 2016.
Stockhausen, Karlheinz. Other Planets (ed. Robin Maconie). Rowman & Littlefield, updated, 2016.
Walker, Jeffrey. Rhetoric and Poetics in Antiquity.
POETRY
Adnan, Etel. To Look at the sea is to become what one is. NIghtboat Books, 2014.
Aggarwal, Vidhu. Avatara. Portable Press @ Yo-Yo Labs, 2018.
Berssenbrugge, Mei-Mei. A Treatise on Stars. New Directions, 2020.
—. Hello, the Roses. New Directions, 2013
—. Endocrinology. Kelsey Street Press, 1997.
—. Empathy. Station Hill Press, 1989.
Braithwaite, Kamau. Elegguas. Wesleyan University Press, 2012.
—. Born to Slow Horses. Wesleyan University Press, 2005.
Brown, Lee Ann. The Sleep That Changed Everything. Wesleyan, 2015.
Doris, Stacy. Paramour. Krupskaya, 2000.
Eigner, Larry. The Collected Poems of Larry Eigner, Volumes 1-4 (ed. Robert Grenier). Stanford University Press, 2010.
Iijima, Brenda. Remembering Animals. Nightboat Books, 2016.
Kearney, Douglas. Mess and Mess And. Noemi Press, 2015.
Mullen, Harryette. Recyclopedia: Trimmings, S*PeRM**K*T, and Muse & Drudge. Graywolf Press, 2006.
Notley, Alice. For the Ride. Penguin Books, 2020.
—. The Descent of Alette. Penguin Books, 1996.
—. Grave of Light: New and Selected Poems. Wesleyan University Press, 2008.
Patton, Julie Ezelle. Notes for Some (Nominally) Awake. Portable Press at Yo-Yo Labs. 2007.
Philip, M. NourbeSe. Zong. Wesleyan University Press, 2011.
Quasha, George. Glossodelia Attract: preverbs. Station Hill, 2015.
Stecopoulos, Eleni. Armies of Compassion. Palm Press, 2010.
Vicuña, Cecilia. New and Selected Poems. Kelsey Street Press, 2018.
Zukofsky, Louis. Stinehour Press, 1978.
PROSODY
Cushman, Stephen and Clare Cavanagh, Jahan Ramazani, Paul Rouzer. The Princeton Encyclopedia of Poetry and Poetics. Princeton University Press, 2012.
Drucker, Johanna. The Alphabetic Labyrinth: Letters in History and Imagination. Thames and Hudson, 1995.
Finch, Annie Ridley Crane. The Ghost of Meter: Culture and Prosody in American Free Verse. University of Michigan Press, 1993.
Gosh, Manmohan. Paniniya Siksa. V.K. Publishing House, 1991.
Gross, Harvey. The Structure of Verse: Modern Essays on Prosody. Ecco Press, Revised Edition, 1979.
Lin, Phoebe. The Prosody of Formulaic Sequences. Bloomsbury Academic, 2020. Edwin Mellen Pr, 2004.
Martin, Doug. A Study of Walt Whitman’s Mimetic Prosody: Free-Bound and Full Circle.
Saintsbury, George. A History of English Prosody from the Twelfth Century to the Present Day. Dell, 1966.
Sánchez-Mompeán, Sofía. The Prosody of Dubbed Speech: Beyond the3 Character’s Words. Palgrave Macmillan, 2020.
Schwartz, Martin. Dimensions of the Gāthās as Poetry. Article: link Gathas a Poestry
—. The Gathas The Hymns of Zarathushtra. read
Wennerstrom, Ann. The Music of Everyday Speech: Prosody and Discourse Analysis. Oxford University Press, 2001.
Wilson, Peter Lamborn. ABECEDARIUM. West Lima, Wisconsin: Xexoxial Editions, 2010.
(There are many basic, suprasegmental-oriented prosody manuals for teaching the “craft” of poetry written by poets including Ron Padgett (The Teachers and Writers Handbook of Poetic Forms), Lewis Turco (The Book of Forms), John Hollander (Rhyme’s Reason), Robert Pinsky (The Sounds of Poetry), Annie Ridley Crane Finch (A Poet’s Ear: A Handbook of Meter and Form), Karl Shapiro (The Prosody Handbook), Charles Hartman (Verse: An Introduction to Prosody), Donald Justice (Compendium: A Collection of Thoughts on Prosody),Louis Zukofsky (A Test of Poetry),
PERFORMANCE
Bharata. Natyasastra (tr. Manomohan Ghosh). The Royal Asiatic Society of Bengal, 1959. read
Boal, Augusto. Games for Actors and Non-Actors. Routledge, 2002.
—. Legislative Theatre. Routledge, 1998.
—. Theatre of the Oppressed. Theatre Communications Group, 1993.
Fritz, Birgit. InExActArt—the Autopoietic Theatre of Augusto Boal: A Handbook of Theatre of the Oppressed Practice. ibidem Press, 2012.
Grotowski, Jerzy. Towards a Poor Theatre. Routledge, 2012.
Gupt, Bharat. Dramatic Concepts, Greek and Indian: A Study of the Poetics and the Natyasastra. D.K. Printworld, 2006
Lipecki, André. Singularities: Dance in the Age of Performance. Routledge, 2016.
Mac Low, Jackson. Doings: Assorted Performance Pieces 1955-2002. Granary Books, 2005.
Morris, Lawrence D. “Butch”. The Art of Conduction: A Conduction Workbook. Kama, 2017.
Rainer, Yvonne. Feelings Are Facts: A Life. MIT Press, 2013.
Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press Books, 2003.
Templeton, Fiona. The Medead. Roof Books, 2014.
—. You The City. Roof Books, 1990.
Vicuña, Cecilia. Spit Temple. Ugly Duckling Presse, 2012.
Wangh, Stephen. An Acrobat of the Heart: A Physical Approach to Acting Inspired by the work of Jerzy Grotowski. Vintage, 2010.
SOUND
Agrawal, Pramod Kumar. Meaningfulness of Sounds. Universal Theory Research Center, 2016.
—. Phonsemantic Dictionary. Universal Theory Research Center, 2018.
Braggins, Sheila. Mystery Behind the Voice: A Biography of Alfred Wolfsohn. Troubador Publishing 2011.
Denning, Michael. Noise Uprising: The Audiopolitics of a World Musical Revolution.
Eidsheim, Nina Sun. Sensing Sound: Singing and Listening as Vibrational Practice. Duke University Press Books, 2015.
Erlmann, Veit. Reason and Resonance: A History of Modern Aurality. Zone Books.
Frawley, David. Mantra Yoga and the Primal Sound. Lotus Press, 2010.
Handel, Stephen. Listening: An Introduction to the Perception of Auditory Events. The MIT Press, 1989.
Horowitz, Seth. The Universal Sense: How Hearing Shapes the Mind. Bloomsbury USA, 2012.
Jenny, Hans. Cymatics: A Study of Wave Phenomena & Vibration. MACROmedia Publishing, 2001.
Kahn, Douglas. Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. University of California Press, 2013.
Khan, Hazrat Inayat. The Mysticism of Sound and Music. Shambala, Revised Edition, 1996.
Kane, Brian. Sound Unseen: Acousmatic Sound in Theory and Practice.
Magnus, Margaret. Gods in the Word: Archetypes in the Consonants.
Ochoa-Gautier, Ana María. Aurality: Listening and Knowledge in Nineteenth-Century Columbia.
PENNSOUND. Center for Programs in Contemporary Writing. https://writing.upenn.edu/pennsound/
Rael, Joseph. Sound: Native Teachings and Visionary Art. Council Oak Books, 2009.
Saraswati, Swami Satyadharma. Nadabindu and Dhyanabindu Upanishads: Meditations on the Inner Sound.
Saussy, Haun. The Ethnography of Rhythm: Orality and Its Technologies
Schafer, Murray. The Soundscape: Our Sonic Environment and the Tuning of the World.
Sterne, Jonathan (ed.). The Sound Studies Reader.
Stoever, Jennifer. Sonic Color Line: Race & The Culture of Listening.
Tomatis, Alfred. The Conscious Ear. Station Hill Press, 1991.
Trower, Shelly. Senses of Vibration: A History of the Pleasure and Pain of Sound. Continuum, 2012.
UBUWEB : SOUND: The Avant Garde Project at UbuWeb. http://ubu.com/sound/agp/
SOMATIC PRACTICES
Beaulieu, John. Human Tuning Sound Healing with Tuning Forks. Biosonic Enterprises, 2010.
Cohen, Bonnie Bainbridge. Sensing, Feeling and Action: The Experiential Anatomy of Body-Mind Centering, Third Edition, 2015.
—. The Mechanics of Vocal Expression. Burchfield Rose Publishers, Second Edition, 2015.
Johnson, Don Hanlon. Bone, Breath, and Gesture: Practices of Embodiment. North Atlantic Books, 1995.
Oliveros, Pauline. Deep Listening: A Composer’s Sound Practice. iUniverse, 2005.
—. Anthology of Text Scores. Deep Listening Publications, 2013.
Purves, Alex. Homer and the Poetics of Gesture. Oxford University Press, 2019.
Newhan, Paul. The Singing Cure: An Introduction to Voice Movement Therapy.
Steiner, Rudolf. Eurythmy as Visible Speech. Anthroposophical Publishing, 1956. read
Svatmarama. Hatha Yoga Pradipika. Aquarian Press, 1992. read
Wellman, Janina. The Form of Becoming: Embryology and the Epistemology of Rhythm. Zone Books.
KINESICS
Austin, Gilbert. Chironomia: Or, a Treatise on Rhetorical Delivery: Comprehending Many Precepts, Both Ancient and Modern, for the Proper Regulation of the Voice, the Countenance, and Gesture. W. Bulmer & Company. 1806.
Brentari, Diane. A Prosodic Model of Sign Language Phonology.
Goldin-Meadow, Susan. Hearing Gesture: How Our Hands Help Us Think. Belknap Press, 2003.
—.Resilience of Language: What Gesture Creation in Deaf Children Can Tell Us About How All Children Learn Language. Routledge, 2005.
Kendon, Adam. Gesture: Visible Action as Utterance. Cambridge University, 2004.
Lecoq, Jaques. Theatre of Movement and Gesture. Routledge, 2006.
Leroi-Gourhan, André. Gesture and Speech. The MIT Press, 1993.
Maher, Jane. Seeing Language in Sign. Gallaudet University Press 1996.
McNeil, David. Why We Gesture: The Surprising Role Of Hand Movements in Communication. Cambridge University Press, 2016.
—. Hand and Mind: What Gestures Reveal About Thought. University of Chicago Press, 1996.
Sheets-Johnstone, Maxine. The Primacy of Movement. John Benjamins Publishing Company, 2011.
TRAUMA
Alexander, Jeffrey. Trauma: A Social Theory.
Badenoch, Bonnie. The Heart of Trauma. W.W. Norton & Company, 2017.
Beaulieu, John. BioSonics, Stress Science, and Nitric Oxide Literature Review. BioSonic Enterprises, Ltd., 2009. read
Dana, Deb. Polyvagal Exercises for Safety and Connection. W.W. Norton & Company, 2020.
Davoine, Francoise. History Beyond Trauma.
Lederach, John Paul. The Moral Imagination: The Art and Soul of Building Peace.
Porges, Stephen. The Polyvagal Theory: Neurophysiological Foundations of Emotions, Attachment, and Self-Regulation. W.W. Norton & Company, 2011.
Rosenberg, Stanley. Accessing the Healing Power of the Vagus Nerve: Self-Help Exercises for Anxietry, Depression, Trauma, and Autism. North Atlantic Books, 2017.
Rothstein, Joseph. Prosody Treatment Program. Pro Ed, 2013.
Schulman, Sarah. Conflict is Not Abuse: Overstating Harm, Community Responsibility, and the Duty of Repair.
Taussig, Michael. Shamanism, Colonialism, and the Wild Man: A Study in Terror and Healing.
Van der Kolk, Bessel. The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma. Penguin Books, 20015.
CONTEMPLATION, COGNITION, CULTURE, CONSCIOUSNESS, CRITICISM
Abhinavagupta. The Dhvanyaloka of Anandavardhana with the Locana of Abhinavagupta. Harvard University Press, 1990.
Al-Ghazali. Deliverance From Error (tr. Muhammad Abulaylah).LinkAl-Ghazali del
Amrita Bindu Upanishad (tr. A. Mahadeva Sastri). Minerva Press, 1898. read
Beck, Guy. Sonic Theology: Hinduism and Sacred Sound. University of South Carolina Press, 2009.
Berendt, Joachim-Ernst. The World is Sound: Nada Brahma: Music and the Landscape of Consciousness. Destiny Books, 1991.
Bi, Wang. A Chinese Reading of the Daodejing (tr. Rudolf G. Wagner). State University of New York Press: Bilingual Edition, 2003.
Buhner, Stephen Harrod. The Lost Language of Plants: The Ecological Importance of Plant Medicines for Life on Earth. Chelsea Breen Publishing, 2002.
Butler, Judith. The Force of Nonviolence: The Ethical in the Political. Verso, 2020.
Connelly, Ben. Inside Vasubandhu’s Yogacara: A Practicioner’s Guide. Wisdom Publications, 2016.
Corbin, Henri. Avicenna and the Visionary Recital. University of Dallas, 1980. read
De Nicolas, Antonio. Meditations through the Rg Veda. iUniverse, 2003.
Dunne, John. Foundations of Dharmakirti’s Philosophy. Wisdom Publications, 2004.
Gathas: The Hymns of Zarathushstra (tr. D.J. Irani, foreward by Rabindranath Tagore). read
Gemma, Corradi Fiumara. The Other Side of Language: A Philosophy of Listening. Routledge, 1996.
Hartman, Saidiya. Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America. Oxford University Press, 1997.
Ho, Mae-Wan. Rainbow and the Worm: The Physics of Organisms. Wspc, 2008.
Holdrege, Barbara. Veda and Torah: Transcending the Textuality of Scripture. State University of New York Press, 1995.
Hooks, Bell. Teaching to Transgress: Education as the Practice of Freedom. Routledge, 1994.
Hudson, Michael. …and Forgive Them Their Debts: Lending, Foreclosure and Redemption from Bronze Age Finance to the Jubilee Year. Islet, 2018.
—. Killing the Host: How Financial Parasites and Debt Bondage Destroy the Global Economy. Counter-Punch, 2015.
Hunt, Valerie. Infinite Mind: Science of the Human Vibrations of Consciousness. Malibu Pub, 1996.
Illich, Ivan. The Alphabetization of the Popular Mind. North Point Press, 1988.
Kukai. Major Works (tr. Yoshito Hakeda). Columbia University Press, 1972.
Lacan, Jacues. Ecrits. W.W. Norton & Company, 2007.
Mole, Christopher. Attention Is Cognitive Unison: An Essay in Philosophical Psychology.
Moten, Fred. (consent not to be singularity) Black and Blue, Stolen Life, The Universal Machine. Duke University Press Books, 2017-18.
Nagarjuna. Nagarjuna’s Middle Way: Mulamadhyamakakarika. Wisdom Publications, 2013.
Newen, Albert (ed. et al). The Oxford Handbook of 4E Cognition. Oxford University Press, 2018.
Nez, Vangee. Diné Epistemology: Sa’ah Naaghái Bik’eh Hózhóón Teachings. University of New Mexico Digital Repository, 2018. read
Padoux, Andre. Vāc: The Concept of the Word in Selected Hindu Tantras. India: Sri Satguru Publications, 2002.
Paracelsus. The Hermetic and Alchemical Writings of Paracelsus. Martino Fine Books, 2009.
Patton, Laurie. Bringing the Gods to Mind: Mantra and Ritual in Early Indian Sacrifice. University of California Press, 2005.
Plato. Cratylus. (various translations)
Sefer Yetzirah: the Book of Creation (tr. Aryeh Kaplan). Weiser Books: Revised, Subsequent Edition, 1997.
Sells, Michael. Mystical Languages of Unsaying. University of Chicago Press, 1994.
Stirner, Max. The Ego and Its Own. 1844. (various translations)
Szent-Györgyi, Albert. The Living State: With Observations on Cancer.
Thompson, Evan. Waking, Dreaming, Being: Self and Consciousness in Neuroscience, Meditation, and Philosophy. Columbia University Press, 2014.
—. Self, No Self. (ed. With Mark Siderits). Oxford University Press, 2013.
Woodroffe, Sir John. The Garland of Letters. Ganish & Company, 1979.
LANGUAGE SCIENCES
Catford, J.C. A Practical Introduction to Phonetics. Oxford University Press, 2002.
Derrida, Jacques. Of Grammatology (tr. Gayatri Chakravorty Spivak). Motilal Banarsidass, 1994.
Heller, Eric. Why You Hear What You Hear: An Experiential Approach to Sound, Music, and Psychoacoustics. Princeton University Press, 2012.
Farina, Almo and Stuart H. Gage (eds.). Ecoacoustics: The Ecological Role of Sounds. Wiley, 2017.
Favareau, Donald. Essential Readings in Biosemiotics. Springer 2010.
Jacobson, Roman. Six Lectures on Sound and Meaning. The MIT Press, 1976.
—. The Sound Shape of Language. Indiana University Press, 1979.
Johnson, Keith. Acoustic and Auditory Phonetics. Wiley-Blackwell.
Kemmerer, David. Cognitive Neuroscience of Language. Psychology Press, 2014.
Pourciau, Sarah. The Writing of Spirit: Soul, System, and the Roots of Language Science.
Reetz Henning and Allard Jongman. Phonetics: Transcription, Production, Acoustics, and Perception. Wiley-Blackwell, 2008.
Sampson, Geoffrey. The ‘Language Instinct’ Debate. Continuum, 2005.
Saussure, Ferdinand. Course in General Linguistics. Open Court, 1998.
Sherzer, Joel. Kuna Ways of Speaking. University of Texas Press, 1990.
Snell, Gretchen Wegner. The Power of Vibrational Medicine: Healing with the Bioacoustics of Nature. Independently Published, 2019.
Stocker, Michael. Hear Where We Are: Sound, Ecology, and Sense of Place. Springer, 2013.
Thaut, Michael. Rhythm, Music, and the Brain: Scientific Foundations and Clinical Applications.
Vihman, Marilyn May. Phonological Development: The First Two Years. Wiley-Blackwell, 2014.
Weber, Andreas. Biopoetics: Towards an Existential Ecology (Biosemiotics). Springer, 2016
Williams, Colin. SL- is for Sleaze but Sn- is for Sneeze!: The Meaning Behind English Consonant Clusters. CreateSpace Independent Publishing Platform, 2018.
Yust, Jason. Organized Time: Rhythm, Tonality, and Form. Oxford.
Zsiga, Elizabeth C. The Sounds of Language: An introduction to Phonetics and Phonology. Wiley-Blackwell, 2013.