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20221102144751.0 |
020 |
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|a023023688X
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020 |
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|a9780230236882
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040 |
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|aUKPGM|beng|cUKPGM|dEBLCP|dNOU
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049 |
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|aAPTA
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050 |
14
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|aPR888.I3|bS26 2009
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082 |
04
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|a823.91409353|222
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100 |
1
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|aScott, Jeremy.
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245 |
14
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|aThe demotic voice in contemporary British fiction|h[electronic resource] /|cJeremy Scott.
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260 |
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|aBasingstoke :|bPalgrave Macmillan,|c2009.
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300 |
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|avii, 272 p. ;|c22 cm.
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504 |
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|aIncludes bibliographical references and index.
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505 |
0
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|aContents -- 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.
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520 |
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|aContemporary 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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533 |
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|aElectronic reproduction.|bBasingstoke, England :|cPalgrave Macmillan,|d2009.|nMode of access:World Wide Web.|nSystem requirements: Web browser.|nTitle from title screen (viewed on Oct. 6, 2009).|nAccess may berestricted to users at subscribing institutions.
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650 |
0
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|aEnglish fiction|y20th century|xHistory and criticism.
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650 |
0
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|aEnglish fiction|y21st century|xHistory and criticism.
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650 |
0
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|aIdentity (Philosophical concept) in literature.
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650 |
0
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|aNarration (Rhetoric)
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650 |
0
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|aSociolinguistics in literature.
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655 |
7
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|aElectronic books.|2local
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710 |
2
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|aPalgrave Connect (Online service)
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776 |
1
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|cOriginal|z9780230217577|z0230217575|w(OCoLC)318670667
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809 |
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|pEB|dPR888.I3|eS427|y2009
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856 |
40
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|3Palgrave Connect|uhttp://www.palgraveconnect.com/doifinder/10.1057/9780230236882|zaccess to fulltext (Palgrave)
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