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The Text and the Voice
Why is voice so important to us? How does the concept of voice encompass such disparate practices as vocal sound, marks on a page, identity production and the execution of power? With these questions in mind, this book studies voice as both a textual and a bodily phenomenon. By using both drama and film, and by exploring the translation between the two, this study shows that voice can be placed in a grid where the subject, body, language and power interconnect in ways that question established ideas concerning voice – what it is and what it can do. The book investigates how voice, as an expression of the individual subject, is central in the fight for power in plays such as The Crucible by Arthur Miller, Amiri Baraka’s Dutchman and Ntosake Shange’s for colored girls who have considered suicide, where voice is seen as fundamental for political action. However, it also questions the seemingly failsafe connection between voice and the subject. In Eugene O’Neill’s Strange Interlude, the relation between voice and thought is neither harmonious nor given, and thus voice becomes something other than an expression of subjective interiority. The discussion of Clare Booth’s The Women highlights how voice in ironic discourse disrupts notions of intentionality, subjectivity and power in ways that destabilize preconceived notions of voice. Lastly, the chapter on David Mamet’s Glengarry Glen Ross asks if voice really can empower the subject in an age where processes of reification have invaded the subject’s consciousness, including the ability to communicate.
Get the Knowledge Without the College! You are a writer. You dream of sharing your words with the world, and you're willing to put in the hard work to achieve success. You may have even considered earning your MFA, but for whatever reason--tuition costs, the time commitment, or other responsibilities--you've never been able to do it. Or maybe you've been looking for a self-guided approach so you don't have to go back to school. This book is for you. DIY MFA is the do-it-yourself alternative to a Master of Fine Arts in creative writing. By combining the three main components of a traditional MFA--writing, reading, and community--it teaches you how to craft compelling stories, engage your readers, and publish your work. Inside you'll learn how to: • Set customized goals for writing and learning. • Generate ideas on demand. • Outline your book from beginning to end. • Breathe life into your characters. • Master point of view, voice, dialogue, and more. • Read with a "writer's eye" to emulate the techniques of others. • Network like a pro, get the most out of writing workshops, and submit your work successfully. Writing belongs to everyone--not only those who earn a degree. With DIY MFA, you can take charge of your writing, produce high-quality work, get published, and build a writing career.
While indigenous languages have become prominent in global political and educational discourses, limited attention has been given to indigenous children’s everyday communication. Voices of Play is a study of multilingual play and performance among Miskitu children growing up on Corn Island, part of a multi-ethnic autonomous region on the Atlantic Coast of Nicaragua. Corn Island is historically home to Afro-Caribbean Creole people, but increasing numbers of Miskitu people began moving there from the mainland during the Contra War, and many Spanish-speaking mestizos from western Nicaragua have also settled there. Miskitu kids on Corn Island often gain some competence speaking Miskitu, Spanish, and Kriol English. As the children of migrants and the first generation of their families to grow up with television, they develop creative forms of expression that combine languages and genres, shaping intercultural senses of belonging. Voices of Play is the first ethnography to focus on the interaction between music and language in children’s discourse. Minks skillfully weaves together Latin American, North American, and European theories of culture and communication, creating a transdisciplinary dialogue that moves across intellectual geographies. Her analysis shows how music and language involve a wide range of communicative resources that create new forms of belonging and enable dialogue across differences. Miskitu children’s voices reveal the intertwining of speech and song, the emergence of “self” and “other,” and the centrality of aesthetics to social struggle.
VOICE AND SPEECH TRAINING IN THE NEW MILLENNIUM: CONVERSATIONS WITH MASTER TEACHERS
It has become commonplace these days to speak of “unpacking” texts. Voice and Vision is a book about packing that prose in the first place. While history is scholarship, it is also art—that is, literature. And while it has no need to emulate fiction, slump into memoir, or become self-referential text, its composition does need to be conscious and informed. Voice and Vision is for those who wish to understand the ways in which literary considerations can enhance nonfiction writing. At issue is not whether writing is scholarly or popular, narrative or analytical, but whether it is good. Fiction has guidebooks galore; journalism has shelves stocked with manuals; certain hybrids such as creative nonfiction and the new journalism have evolved standards, esthetics, and justifications for how to transfer the dominant modes of fiction to topics in nonfiction. But history and other serious or scholarly nonfiction have nothing comparable. Now this curious omission is addressed by Stephen Pyne as he analyzes and teaches the craft that undergirds whole realms of nonfiction and book-based academic disciplines. With eminent good sense concerning the unique problems posed by research-based writing and with a wealth of examples from accomplished writers, Pyne, an experienced and skilled writer himself, explores the many ways to understand what makes good nonfiction, and explains how to achieve it. His counsel and guidance will be invaluable to experts as well as novices in the art of writing serious and scholarly nonfiction.
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.
Why do we speak the way we do, and what do our voices tell others about us? What is the truth behind the myths that surround how we speak? Jane Setter explores these and other fascinating questions in an accessible and engaging account that will appeal to anyone interested in how we use our voices in daily life.
A passionate exploration of the process of comprehending and speaking the words of William Shakespeare. Detailing exercises and analyzing characters' speech and rhythms, Linklater provides the tools to increase understanding and make Shakespeare's words one's own.
Focuses on authorial representations of contested reality in qualitative research.This book focuses on representations of contested realities in qualitative research. The authors examine two separate, but interrelated, issues: criticisms of how researchers use "voice," and suggestions about how to develop experimental voices that expand the range of narrative strategies. Changing relationships between researchers and respondents dictate alterations in textual representations--from the "view from nowhere" to the view from a particular location, and from the omniscient voice to the polyvocality of communities of individuals. Examples of new representations and textual experiments provide models for how some authors have struggled with voice in their texts, and in so doing, broaden who they and we mean by "us."