The Pleasures of Voices in the Literary Essay: Explorations in the Prose of Gretel Ehrlich and Richard Selzer.
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| Title: | The Pleasures of Voices in the Literary Essay: Explorations in the Prose of Gretel Ehrlich and Richard Selzer. |
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| Language: | English |
| Authors: | Elbow, Peter |
| Peer Reviewed: | N |
| Page Count: | 16 |
| Publication Date: | 1987 |
| Document Type: | Speeches/Meeting Papers Guides - Classroom - Teacher Opinion Papers |
| Descriptors: | Authors, Higher Education, Literary Criticism, Literary Devices, Literary Styles, Literature, Narration, Reading Writing Relationship, Rhetorical Invention, Writing Instruction, Writing Skills |
| Abstract: | Voice is a useful critical concept for studying texts, and can be classified into three types: (1) audible voice--how much the reader "hears" the text; (2) dramatic voice--what kind of speaker or writer is implied in the text; and (3) one's own voice--the relationship of the text to the actual writer. Written language is more likely to be heard if it uses the syntax, rhythms, and word-choice characteristic of speech. Certain textual clues, such as short simple sentences or sentences which give the sense of mental activity, also call attention to the audibility of a text. The dramatic dimension of a text can derive from the audible voice, but even in the absence of an audible voice, the voice of the implied author is present. There are three aspects to one's own, or the actual writer's, voice: (1) a distinctive, recognizable voice; (2) "having a voice" or "having the authority to speak"; and (3) "authentic voice" or resonance, meaning the relationship of the text to the real author as opposed to the implied author. The writings of Gretel Ehrlich and Richard Selzer effectively illustrate all senses of voice. (Sixteen references are appended.) (MM) |
| Entry Date: | 1988 |
| Accession Number: | ED292128 |
| Database: | ERIC |
| Abstract: | Voice is a useful critical concept for studying texts, and can be classified into three types: (1) audible voice--how much the reader "hears" the text; (2) dramatic voice--what kind of speaker or writer is implied in the text; and (3) one's own voice--the relationship of the text to the actual writer. Written language is more likely to be heard if it uses the syntax, rhythms, and word-choice characteristic of speech. Certain textual clues, such as short simple sentences or sentences which give the sense of mental activity, also call attention to the audibility of a text. The dramatic dimension of a text can derive from the audible voice, but even in the absence of an audible voice, the voice of the implied author is present. There are three aspects to one's own, or the actual writer's, voice: (1) a distinctive, recognizable voice; (2) "having a voice" or "having the authority to speak"; and (3) "authentic voice" or resonance, meaning the relationship of the text to the real author as opposed to the implied author. The writings of Gretel Ehrlich and Richard Selzer effectively illustrate all senses of voice. (Sixteen references are appended.) (MM) |
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