... ( Hamburg : Hamburg University ), wikis.sub.uni-hamburg.de/lhn/index.php/Perspective_-_Point_of_View (accessed May 10, 2016) . Apostrophe, Speaker Projection, and Lyric World Building Eva Zettelmann Department of English, Vienna University Jonathan Culler, Theory of the Lyric. Cambridge...

..., as in the detective story, and/or to functional drives, like surprise, no less than to the teller's blind spots. What distinguishes the perspectival or the unreliability hypothesis is that it brings discordant elements into pattern by attributing them to the peculiarities of the speaker through whom the world...

... on his institutional position; for Ducrot or Maingueneau, drawing on Aristotle, the image of the orator is built by the discourse itself. Analyzing political as well as literary texts, this essay takes into account the institutional position of the speaker; his “prior ethos” (the image his audience has...

... dismantles the lyric speaker’s sovereign position and consequently uncovers the silent — and silenced — dialogic voices that are an inseparable part of the genre. The article concludes with an analysis of lyric address and the ethical role of reading, whereby readers are implicated in the process of forced...

... and Seven Walks from the Office for Soft Architecture (2003) as a multi-genre study in Vancouver becoming “money” and the effects of this process on work characterized as temporary or feminine. Indeterminacy becomes a double bind for the speakers of her “Office,” in that freedoms of expression, feeling...

... a multiplicity of versions. Given an excuse, there is not just a plurality of possible plot developments but also a consideration of linguistic nuances when weighing responsibility. The excuse generates a context within which the acts of the speaker appear in a different light or as elements of a different story...

... the destruction of European Jewry, Glatstein, Yitskhok Bashevis Singer, and Aaron Zeitlin made the monologue into a vehicle of inner-cultural dialogue. As if to compensate for the ever-dwindling number of Yiddish speakers, professional actors, notably Hertz Grossbard, turned the written-as-spoken classics...

... the reader's task by reducing fictional mediation to a minimum. Their norms are (a) conventional in cultural context; (b) explicitly formulated by (c) a speaker who would appear, or has proved, reliable. This transparent communication is favored by popular literature and by didactic or strongly ideological...

... (or speaker-oriented,expressive) statements; and (3) ars-poetic (or text-oriented, textually self-reflexive) statements. “The Skaters” appears to be a descriptive poem; it has often been read as more or less veiled autobiography;and it is undeniably self-reflexive. I undertake to demonstrate how descriptions...

... (London: Methuen). Vendler, Helen 1997 The Art of Shakespeare's Sonnets (Cambridge, MA: Harvard University Press). Weiser, David K. 1987 Mind in Character: Shakespeare's Speaker in the Sonnets (Columbia: University of Missouri Press). Love’s Hologram: Shakespeare, Ricoeur...

... 1 such representations may provide. With multiparty talk, the attention of the reader may shift from person to person, so that the movement is more spatial than linear, as we wander among topics and speakers rather than follow a specific thread of talk toward some kind of goal or outcome. In her...

... (through its linguistic dialect) to a social context outside the text by identifying the speaker as belonging to the social class/category associated with that dialect. The voice is the actual ‘‘speak- ing personality, the speaking consciousness; it always has a will or desire behind it, its own timbre...

..., and having described the scene of death, he immediately gave it a meaning: “These acts of mass murder were intended to frighten our nation into chaos and retreat. But they have failed. Our country is strong.” The task that the speaker thus set for himself in his speech was to transcend...

... of blood, 1. I have italicized only venerable kinds of deixis—person, place, and time. Arguments could be made for the speaker- and socio-centric implications of the topic selection and sequencing (see Rauh 1983: 36 and Sternberg 1983) as well as the schematic indexing or grounding of the definite...

... development over the years. The basic criterion Howe employs in her definition of the dramatic monologue is common to various critical approaches she surveys, namely the separation between speaker and poet and the distance created between the two. In this separation the dramatic monologue fundamentally...

..., through and along with his own, in what he saw as a historic universal courtroom.8 ‘‘Speakers’’ like him, he (1988: 149) main- tains, ‘‘speak because they know they are witnesses in a trial of planetary and epochal dimensions As with the urge to bear witness, so with the competence. In the first...

... of ‘‘they’’ is astronomers, as representative of a scien- tific and scary perspective on the vastness and indifference of the cosmos, Wolosky clearly identifies the antecedent as ‘‘the empty spaces’’ themselves in a fiction of subordinate ontological status to that of the speaker. She puts this more simply and reassuringly...

... to recommend it but that a closer look at Camus's practice—and, indeed, that of many other writers, including poets working with dramatic lyrics featuring speakers and on-the-scene listeners—reveals the need for some revisions and expansions of it. The first revision we propose is to replace the term...

..., that the aesthetic effect resides. Avant-garde and experimental literature clearly have an opportunity in this plural context, unique among the world s cultural regions, for collaboration with speakers of other East Asian lan- guages. In fact, the very cognitive activity of reading in Japanese has a bilin- gual...

.... Haupt-Cucuiu contributes to the study of voice in Mu¨ller s works, but her interest is limited to a few facets of character description with relation to voice. While Haupt-Cucuiu characterizes voice as a vehicle for understanding the psychological aspects of the speakers, she does not look at the role...