Literary voice. The calling of Jonah

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                            [a] => Literary voice. The calling of Jonah /
                            [c] => Tadeusz Sławek, Donald Wesling.
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                            [b] => State University of New York Press,
                            [c] => 1995
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                            [a] => 1. Toward a philosophy of literary voice. Person as voice: thinking of metaphor. Three elements of a comprehensive philosophy of literary voice. A history (Theory of the relation of voice to person. A theory of communicative context. A stylistics based on speech orientation. The speaking subject: Our most comprehensive premise as derived from Emile Benveniste and Julia Kristeva, dialogism, speaking subject, and the critique of existing theory of voice. Before grammatology. After (and beyond) grammatology. * 2. Fish and bird: minimal articulation. The idea of the call. Regional intentionality. The chasm of the inarticulate. Birdsong. Exclamations, cries, and other transgressions. Aa!!. * 3. Early modern speaking subjects. Grammatical and legal position of speaker: John Donne and Rene Descartes. Scenes of parting: Donne and the metaphysical poets. * 4. Bardic voice: vestiges of the oral and national. The voice of the Living God in the Delphic Oracle and the Book of Jonah. Vestiges of the oral and the national: eighteenth-century origins of the Bardic in England. The exiled voice in Adam Mickiewicz's "Pan Tadeusz". Phenomology of exile and voice. Bardic voice and the exiled epilogue. Silence of voice. Sociology of the Polish Fatherland. Vachel Lindsay and American Bardic. * 5. Detonation: Another mode of the minimal. De-tonation in nineteenth-century theory: Friedrich Nietzsche. The passage: Jacques Derrida. The periphery: Henri Meschonnic. * 6. Reading the de-toned text. Voice determinate and indeterminate. Postmodern indterminate voice. Detonation. Strong de-tonation. Uncanny de-tonation. For the subject.
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