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Record Nr. |
UNINA9910465275103321 |
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Autore |
Ruf Frederick J. <1950-> |
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Titolo |
Entangled voices [[electronic resource] ] : genre and the religious construction of the self / / Frederick J. Ruf |
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Pubbl/distr/stampa |
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New York, : Oxford University Press, 1997 |
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ISBN |
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1-280-52859-1 |
0-19-535619-5 |
1-4294-1560-6 |
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Descrizione fisica |
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1 online resource (136 p.) |
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Disciplina |
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Soggetti |
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Religious literature, English - History and criticism - Theory, etc |
Self in literature |
Literary form |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references (p. 103-120) and index. |
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Nota di contenuto |
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Introduction: hearing voices -- ; ch. 1. The voices of narrative, lyric, and drama: The three characteristics of narrative -- Lyric -- Drama -- ; ch. 2. "Jogona's great treasure": narrative, lyric, and dramatic intelligibility: Intelligibility: Comprehensiveness and cohesion -- Conclusions -- ; ch. 3. "Intoxicated with intimacy": the lyric voice in John Donne's Holy sonnets: Unruly autobiography -- Donne's Holy sonnets -- Donne's lyric self -- The lyric voice -- ; ch. 4. "The circle of chalk": narrative voice in Primo Levi's The periodic table: The periodic table -- The aspiration to narrative -- Narrative instability -- "The rich and messy domain" -- ; ch. 5. "Survival and distance": the dramatic voice in Robert Wilson's Einstein on the beach: Einstein on the beach -- Dramatic voice in Einstein -- The dramatic voice and religion -- The dramatic self -- ; ch.. 6. "Harmonized chaos": the mixed voice of Coleridge's Biographia literaria: The biographia literaria -- The form of the Biographia -- Dissociation, fragmentation, and incoherence -- Harmony and unity -- Ramifications: the "mixed" self -- ; ch. 7. Conclusion: genre and instability. |
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Sommario/riassunto |
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In this book, Ruf tries to understand how the concepts of ""voice"" and |
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""genre"" function in texts, especially religious texts. To this end, he joins literary theorists in the discussion about ""narrative."" Ruf rejects the idea of genre as a fixed historical form that serves as a template forreaders and writers; instead, he suggests that we imagine different genres, whether narrative, lyric, or dramatic, as the expression of different voices. Each voice, he asserts, possesses different key qualities: embodiment, sociality, contextuality, and opacity in the dramatic voice; intimacy,limitat |
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