Stephen M. Ross – författare
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2 produkter
2 produkter
Häftad, Engelska, 1991
499 kr
Skickas inom 5-8 vardagar
William Faulkner recognized voice as one of the most distinctive and powerful elements in fiction when he delivered his Nobel Prize acceptance speech, describing the last sound at the end of the world as man's "puny inexhaustible voice, still talking." As a testimonial of an artist's faith in his art, the speech raised the value of voice to its highest reach for man, as "one of the props, the pillars to help him endure and prevail."In Fiction's Inexhaustible Voice, Stephen Ross explores the nature of voice in William Faulkner's fiction by examining the various modes of speech and writing that his texts employ. Beginning with the proposition that voice is deeply involved in the experience of reading Faulkner, Ross uses theoretically grounded notions of voice to propose new ways of explaining how Faulkner's novels and stories express meaning, showing how Faulkner used the affective power of voice to induce the reader to forget the silent and originless nature of written fiction.Ross departs from previous Faulkner criticism by proceeding not text-by-text or chronologically but by construction a workable taxonomy which defines the types of voice in Faulkner's fiction: phenomenal voice, a depicted event or object within the represented fictional world; mimetic voice, the illusion that a person is speaking; psychic voice, one heard only in the mind and overheard only through fiction's omniscience; and oratorical voice, an overtly intertextual voice which derives from a discursive practice--Southern oratory--recognizable outside the boundaries of any Faulkner text and identifiable as part of Faulkner's biographical and regional heritage.In Faulkner's own experience, listening was important. As he once confided to Malcolm Cowley, "I listen to the voices, and when I put down what the voices say, it's right." In Fiction's Inexhaustible Voice, Ross conducts a careful analysis of this fundamental source of power in Faulkner's fiction, concluding that the preponderance of voice imagery, represented talking, verbalized thought, and oratorical rhetoric and posturing makes the novels and stories fundamentally vocal. They derive their energy from the play of voices on the imaginative field of written language.
Häftad, Engelska, 1997
439 kr
Skickas inom 10-15 vardagar
The fifteen essays in this collection explore the resonant intertextual relationship between the fiction of William Faulkner and that of Toni Morrison. Although the two writers are separated by a generation as well as by differences of race, gender, and regional origin, this close critical examination of the creative dialogue between their oeuvres is both timely and appropriate. Toni Morrison's brilliant and powerful novels of the past two decades have accorded her a position in the front ranks of American writers, and like Faulkner before her, she has been awarded the Nobel Prize for literature. She has publicly acknowledged her artistic indebtedness to Faulkner on a number of occasions. But Morrison also resists the Faulknerian heritage in profound ways. This resistance is certainly, in part at least, the natural reluctance of any highly original artist to be regarded as the product of her predecessor's influence. This push-pull of Morrison's acceptance of and resistance to the Faulknerian heritage provides a major source for the critical energy exhibited in this collection. Each contributor, whether addressing broad, general issues in both writers or whether detailing similarities and differences in particular works, finds that the authors illuminate each other. No reader of Faulkner will ever read him in the same way after encountering Morrison. Carol A. Kolmerten is a professor of English at Hood College. Stephen M. Ross is director of the Office of Challenge Grants, National Endowment for the Humanities, and the coauthor of Reading Faulkner: The Sound and the Fury. Judith Bryant Wittenberg is a professor and chair of the English department at Simmons College.