Simon Gaunt, Marco Polo’s “Le devisement du monde”: Narrative Voice, Language and Diversity. (Gallica 31.) Woodbridge, UK, and Rochester, NY: D. S. Brewer, 2013. Pp. 212. $99. ISBN: 978-1-84384-352-8.

Speculum ◽  
2017 ◽  
Vol 92 (1) ◽  
pp. 249-250
Author(s):  
Mark Cruse
Keyword(s):  
Narrative Voice

scholarly journals Memoria e storia nelle narrazioni postcoloniali di Regina di fiori e di perle di Gabriella Ghermandi e Memorie di una principessa etiope di Martha Nasibù

2020 ◽  
Vol 17 ◽  
pp. 30-42
Author(s):  
Barbara Kornacka
Keyword(s):  
Narrative Voice ◽  
Historical Discourse ◽  
The Voice ◽  
The Way

The aim of thise paper is to show how the setting out of the narrative voice determines the historical discourse. The analysis of the narrative voice leads to some considerations about memory and to the examination of recollection in these two novels. That, in turn, allows an exploration of the way in which the historical discourse is constructed. In those cases where the voice in the historical discourse is given to subaltern subjects, they contribute to a more plural history.

scholarly journals The strange case of Francis Dolarhyde and the Dragon: Alternating narrative points of view and the source of knowledge in Thomas Harris’ 'Red Dragon'

2018 ◽  
pp. 47-68
Author(s):  
Justyna Stiepanow
Keyword(s):  
Propositional Knowledge ◽  
Stream Of Consciousness ◽  
Narrative Voice ◽  
Theoretical Concepts ◽  
Vast Array ◽  
Indirect Speech ◽  
Cause And Effect ◽  
Modes Of Representation ◽  
Thomas Harris ◽  
Points Of View

This paper investigates the narrative voice employed by Thomas Harris in Red Dragon as a source of knowledge about the fictional universe, more particularly about the main villain, Francis Dolarhyde. Confronting important epistemological notions (knowledge, justification and their sources) with literary theoretical concepts (narrative voice and points of view), I analyse alternating modes of representation. Harris’ narrator shifts between three modes: the quasi-perceptual one – sense-based, rich in descriptive elements; the quasi-introspective narration carried out from a close subjective angle, using free indirect speech or stream of consciousness; and the testimonial mode – telling (rather than showing) the story through exposition resting on the principle of cause and effect. Employing a vast array of inter-textual pragmatics, the narrative remains ambiguous. In consequence, any proposition about Dolarhyde can be empirically and rationally challenged and all propositional knowledge regarding the character is merely fragmentary.

scholarly journals Authorial and Narrative Voice in the Heptaméron

2009 ◽  
Vol 23 (3) ◽  
pp. 223-242
Author(s):  
Deborah N. Losse
Keyword(s):  
Narrative Voice
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