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The demotic voice in contemporary British fiction[electronic resource] /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
杜威分類號:	823.91409353
書名/作者:	The demotic voice in contemporary British fiction/ Jeremy Scott.
作者:	Scott, Jeremy.
出版者:	Basingstoke : : Palgrave Macmillan,, 2009.
面頁冊數:	vii, 272 p. ;; 22 cm.
標題:	English fiction - History and criticism. - 20th century
標題:	English fiction - History and criticism. - 21st century
標題:	Narration (Rhetoric)
標題:	Identity (Philosophical concept) in literature.
標題:	Sociolinguistics in literature.
ISBN:	9780230236882
ISBN:	023023688X
書目註:	Includes bibliographical references and index.
內容註:	Contents -- Acknowledgements -- Introduction: A Story so Far? -- Paradigms: a Taxonomy of Narrative Technique -- Antecedents: 'The Right to Write a Voice' -- Graham Swift's Last Orders: the Polyphonic Novel -- How Late It Was, How Late for James Kelman's 'Folk Novel' -- Alan Warner: Art-speech and the Morvern Paradox -- The Demotic, the Mandarinand the Proletentious: Martin Amis, Will Self and English Art-speech -- Pitfalls and Potentialities: Niall Griffiths and Anne Donovan -- Conclusions: the Clamouring Continues' -- Bibliography -- Index.
摘要、提要註:	Contemporary British fiction often features demotic narrative voicestaken from 'everyday' contexts, using regional or national dialects. This writing aims in part to narrow the gap between the agencies of author and character so that both speak on the same plane, and engages withsignificant issues of regional, national and cultural identity in modern Britain. This book focuses on the works of James Kelman, Alan Warner, Graham Swift, Will Self, Martin Amis, Niall Griffiths and Anne Donovan(amongst others) and tries to assess the extent to which their narrative techniques succeed or fail- for example, modes of notation for regional and national dialects, and ways of representing 'internal' voicesas opposed to spoken ones. An essential underlying question is whethera character's voice can ever be represented 'uncontaminated' by the author. Can the character be set free from its creator? The book draws upon the disciplines of stylistics and narratology for its theoretical apparatus, but the topic is also approached from a practical angle; in other words, from the point of view of issues which inform and affect the'hands on' work of crafting narrative fiction. Another ambition is to bridge the wide (and unnecessary?) gap between the theory and practice of writing fiction.
電子資源:	access to fulltext (Palgrave)

The demotic voice in contemporary British fiction[electronic resource] /
Scott, Jeremy.

The demotic voice in contemporary British fiction[electronic resource] /Jeremy Scott. - Basingstoke :Palgrave Macmillan,2009. - vii, 272 p. ;22 cm.

Includes bibliographical references and index.

Contents -- Acknowledgements -- Introduction: A Story so Far? -- Paradigms: a Taxonomy of Narrative Technique -- Antecedents: 'The Right to Write a Voice' -- Graham Swift's Last Orders: the Polyphonic Novel -- How Late It Was, How Late for James Kelman's 'Folk Novel' -- Alan Warner: Art-speech and the Morvern Paradox -- The Demotic, the Mandarinand the Proletentious: Martin Amis, Will Self and English Art-speech -- Pitfalls and Potentialities: Niall Griffiths and Anne Donovan -- Conclusions: the Clamouring Continues' -- Bibliography -- Index.

Contemporary British fiction often features demotic narrative voicestaken from 'everyday' contexts, using regional or national dialects. This writing aims in part to narrow the gap between the agencies of author and character so that both speak on the same plane, and engages withsignificant issues of regional, national and cultural identity in modern Britain. This book focuses on the works of James Kelman, Alan Warner, Graham Swift, Will Self, Martin Amis, Niall Griffiths and Anne Donovan(amongst others) and tries to assess the extent to which their narrative techniques succeed or fail- for example, modes of notation for regional and national dialects, and ways of representing 'internal' voicesas opposed to spoken ones. An essential underlying question is whethera character's voice can ever be represented 'uncontaminated' by the author. Can the character be set free from its creator? The book draws upon the disciplines of stylistics and narratology for its theoretical apparatus, but the topic is also approached from a practical angle; in other words, from the point of view of issues which inform and affect the'hands on' work of crafting narrative fiction. Another ambition is to bridge the wide (and unnecessary?) gap between the theory and practice of writing fiction.

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2009.

Mode of access:World Wide Web.

ISBN: 9780230236882Subjects--Topical Terms:

370797
English fiction
--History and criticism.--20th centuryIndex Terms--Genre/Form:

336502
Electronic books.

LC Class. No.: PR888.I3 / S26 2009

Dewey Class. No.: 823.91409353

The demotic voice in contemporary British fiction[electronic resource] /
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505 0 $a Contents -- Acknowledgements -- Introduction: A Story so Far? -- Paradigms: a Taxonomy of Narrative Technique -- Antecedents: 'The Right to Write a Voice' -- Graham Swift's Last Orders: the Polyphonic Novel -- How Late It Was, How Late for James Kelman's 'Folk Novel' -- Alan Warner: Art-speech and the Morvern Paradox -- The Demotic, the Mandarinand the Proletentious: Martin Amis, Will Self and English Art-speech -- Pitfalls and Potentialities: Niall Griffiths and Anne Donovan -- Conclusions: the Clamouring Continues' -- Bibliography -- Index.
520 $a Contemporary British fiction often features demotic narrative voicestaken from 'everyday' contexts, using regional or national dialects. This writing aims in part to narrow the gap between the agencies of author and character so that both speak on the same plane, and engages withsignificant issues of regional, national and cultural identity in modern Britain. This book focuses on the works of James Kelman, Alan Warner, Graham Swift, Will Self, Martin Amis, Niall Griffiths and Anne Donovan(amongst others) and tries to assess the extent to which their narrative techniques succeed or fail- for example, modes of notation for regional and national dialects, and ways of representing 'internal' voicesas opposed to spoken ones. An essential underlying question is whethera character's voice can ever be represented 'uncontaminated' by the author. Can the character be set free from its creator? The book draws upon the disciplines of stylistics and narratology for its theoretical apparatus, but the topic is also approached from a practical angle; in other words, from the point of view of issues which inform and affect the'hands on' work of crafting narrative fiction. Another ambition is to bridge the wide (and unnecessary?) gap between the theory and practice of writing fiction.
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