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This article is a close analysis of Baldwin’s voice in the essay “Notes of a Native Son.” Much has been written about Baldwin’s themes, but without his singular voice, the power of his works would not endure. Through his use of diction, repetition, alliteration and assonance, scene selection, and even punctuation, Baldwin provides the reader with a transformative experience by rendering his own experience accessible. The political and the personal are inextricable, a truth made unavoidable by the way Baldwin writes as much as by the subject he chooses. Examining how he crafts his voice allows us to understand more deeply the power of “Notes of a Native Son.”
on intelligibility. Then there are the unknown accidents and scholarly problems connected with the transmission and establishment of the text in classical Greek. The text was constructed, of course, from copies of copies of copies of … what? We do not actually know. Moreover there are serious difficulties not so much about authorship as about ‘authorial voice’. While there is a biographical tradition, at least, about Plato, and about his mentor and teacher Socrates, the attribution of an authorial voice to Plato in the text itself is made unusually tiresome by the
liberal shamelessness of the show, frequently including on products the strapline ‘Wildly, Absolutely, Unapologetically Shameless’. It is, then, this supposed ‘excess’, this difference from the norm that forms an integral aspect of the Shameless brand. AbbottVision Of course, all of Abbott’s creations are branded to the extent that they communicate his unique vision, but, in 2008, Abbott literally branded his style of work and his authorial voice through the creation of his own company, AbbottVision. Describing it as a ‘truly unique production company with an attached
Asianness is to recognise in part the positioning of Rushdie and Naipaul themselves, and their implied authors, within a space of confidence that points towards the transformation of the migrant voice into a British Asian consciousness. While each authors’ characters straddle alienation and confident belonging, the authorial voice in both cases is testament to the latter. In this respect, marginality is only employed strategically: what Huggan refers to as both authors’ ‘staged marginality’, a double-voiced discourse equally apparent in both authors’ work.99 In Rushdie
leaves only traces of its existence as a memory, a textual remnant or as a transient sensation of aerial vibrations. It also shows how voice figures as a metaphor for both the narrative voices inherent in the texts and the authorial voices of the past that we seek to engage with and that we – as teachers and scholars – seek to embody and ventriloquise through our own teaching and writing. The concept of
possible scope for interpretation, yet Cocteau also intervenes directly in the film at regular intervals with authorial voice-overs that arrive even in the middle of spoken dialogues. The most common instance of Cocteau’s voice is in the form of the radio messages. The first message is presented in the screenplay as the Voice of the Author and could not be more self-reflexive or emphatic. The phrase: ‘Le silence va plus vite à
This chapter explores Milch’s work after the cancellation of Deadwood, with particular attention to John From Cincinnati and Luck. It seeks to understand how Milch’s authorial voice developed and evolved alongside changes in US drama production.
Medieval literary voices explores voice as both a textual remnant and an enlivening communicative presence within medieval texts. Its impressive line-up of essays deepens our understanding of medieval literature by revealing the many ways in which textual voices, far from simply being effects of literariness, are forceful presences that evoke the elusive voices lurking behind and beyond the literary text; they capture the absent authorial voice, the traces of scribal voices and the aural soundscape of the uttered text. The volume considers medieval literary voices across a broad range of texts, from the classical and biblical heritage to post-medieval literary representations. It explores multiple dimensions of medieval voice and vocalisations, also paying attention to the interactions between literary voices and their authorial, scribal and socio-political settings, particularly late medieval English literary production. It contends that, through seeking the voice of the absent or long-gone author, the literary voices contained within the text, and the imaginary and actual voices that shape medieval texts’ receptions, we can begin to understand the ways that medieval voices mediate or proclaim an embodied selfhood or material presence, how they dictate or contest moral conventions and how they create and sustain narrative soundscapes.
This chapter considers Cantet’s Foxfire, Confessions of a Girl Gang, an adaptation of the eponymous Joyce Carol Oates novel. Drawing again on Bakhtin’s notion of the polyphonic text, it asks to what extent Cantet is able to open a space for a female authorial voice. Probing the film’s mise en scene, iconography and use of music, it also asks how much the director is able to resist the tendency, as famously analysed by Fredric Jameson, to represent the 1950s as a commodified surface. Drawing on Mary Ann Doane’s discussion of the female masquerade, it probes the capacity of the film’s girl gang to establish their agency and mount a utopian challenge to the social order. Finally, noting how the gang’s trajectory mimics that of other radical political movements, it suggests that the film takes stock of the contemporary political moment, between the politics that was and that yet to be found.
Political theory rests on an established canon of 'great texts' by 'great authors', from which contemporary political concepts derive their genealogical origins and from which contemporary political theorists (and politicians, sometimes) draw their argumentative ammunition. Traditionally all these great authors have been male. This book focuses on how male theorists present men in political theory as men. It builds on feminist re-readings of the traditional canon of male writers by turning the 'gender lens' onto the representation of men in these widely studied texts. The book explains the distinction between 'man' as an apparently de-gendered 'individual' or 'citizen', and 'man' as an overtly gendered being in human society. Both those representations of 'man' are crucial to a clearer understanding of the operation of gender as a power structure of difference and domination. The book traces out the foundational discourses of political theory that have been instrumental in producing the extensive political exclusion of women from public life and full citizenship. It is the first to use the 'men's studies' and 'masculinities' literatures in rethinking the political problems that students and specialists in political theory must encounter: consent, obligation, equality, legitimacy, participation and life-cycle. It reexamines the historical materials from which present-day concepts of citizenship, individuality, identity, subjectivity, normativity and legitimacy arise. The book draws on newly theorised concepts of dominant and subordinate masculinities that are co-defined with concepts of race/ethnicity, class, sexuality, religion, nationality, language-use and similar markers of 'difference' and subordination.