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181   $ctxt
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200 10$aEntangled voices$b[electronic resource] $egenre and the religious construction of the self /$fFrederick J. Ruf
210   $aNew York $cOxford University Press$d1997
215   $a1 online resource (136 p.)
300   $aDescription based upon print version of record.
311   $a0-19-510263-0 
311   $a0-19-985345-2 
320   $aIncludes bibliographical references (p. 103-120) and index.
327   $tIntroduction: hearing voices --$gch. 1.$tThe voices of narrative, lyric, and drama:$tThe three characteristics of narrative --$tLyric --$tDrama --$gch. 2.$t"Jogona's great treasure": narrative, lyric, and dramatic intelligibility:$tIntelligibility: Comprehensiveness and cohesion --$tConclusions --$gch. 3.$t"Intoxicated with intimacy": the lyric voice in John Donne's Holy sonnets:$tUnruly autobiography --$tDonne's Holy sonnets --$tDonne's lyric self --$tThe lyric voice --$gch. 4.$t"The circle of chalk": narrative voice in Primo Levi's The periodic table:$tThe periodic table --$tThe aspiration to narrative --$tNarrative instability --$t"The rich and messy domain" --$gch. 5.$t"Survival and distance": the dramatic voice in Robert Wilson's Einstein on the beach:$tEinstein on the beach --$tDramatic voice in Einstein --$tThe dramatic voice and religion --$tThe dramatic self --$gch.. 6.$t"Harmonized chaos": the mixed voice of Coleridge's Biographia literaria:$tThe biographia literaria --$tThe form of the Biographia --$tDissociation, fragmentation, and incoherence --$tHarmony and unity --$tRamifications: the "mixed" self --$gch. 7.$tConclusion: genre and instability.
330   $aIn this book, Ruf tries to understand how the concepts of ""voice""  and ""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
606   $aReligious literature, English$xHistory and criticism$xTheory, etc
606   $aSelf in literature
606   $aLiterary form
608   $aElectronic books.
615  0$aReligious literature, English$xHistory and criticism$xTheory, etc.
615  0$aSelf in literature.
615  0$aLiterary form.
676   $a809.935
700   $aRuf$b Frederick J.$f1950-$0854576
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910465275103321
996   $aEntangled voices$91908320
997   $aUNINA