By Ivan Kreilkamp
The nineteenth-century novel has constantly been considered as a literary shape pre-eminently serious about the written observe, yet Ivan Kreilkamp indicates it was once deeply marked through and engaged with vocal performances and the protection and illustration of speech. He deals an in depth account of the various methods Victorian literature and tradition represented the human voice, from political speeches, governesses' stories, shorthand manuals, and staged authorial performances within the early- and mid-century, to automatically reproducible voice on the finish of the century. via readings of Charlotte Brontë, Browning, Carlyle, Conrad, Dickens, Disraeli and Gaskell, Kreilkamp reevaluates severe assumptions in regards to the cultural meanings of storytelling, and indicates that the determine of the oral storyteller, instead of disappearing between readers' choice for published texts, continued as a personality and a functionality in the novel. This cutting edge examine will swap the best way readers examine the Victorian novel and its many ways of telling tales.
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Extra resources for Voice and the Victorian Storyteller (Cambridge Studies in Nineteenth-Century Literature and Culture)
Example text
Something remote from us and something that is getting even more distant’’ (Benjamin, ‘‘The Storyteller,’’ p. 83). ’’ They ‘‘make their appearance in the remotest times,’’ he continues, and ‘‘some of them . . cannot any more shew themselves in this world’’ (On Heroes, p. 133). Thus he, too, describes modernity as loss, absence, cessation – in other words, as disenchantment. Yet, having made this point, Carlyle proceeds to argue that it is possible for modern writing, even print produced for the marketplace, to become heroic when it presents itself as a prophetic voice.
At any given moment during the nineteenth century, many different forms of voice struggled and interacted with English print culture. By turning ‘‘speech’’ into a place-holder for rational debate, Habermas renders it monolithic and homogeneous. He inevitably simplifies speech, so intent is he on proving its turn from good to bad. But speech in the nineteenth century can no more be reduced to critical debate and rational conversation than print culture can be reduced to essays in Blackwood’s Edinburgh Magazine.
The repeated murder of a storyteller or a doomed speaker, a figure that Victorian fiction in fact conjured up to authenticate itself, is the curious tropology by which fiction after Dickens lays claim to the authority to forge communities where mechanization had silenced speakers. A VOICE IN WRITING I argue in this book that the Victorian novel indicates in many different ways that there must be a speaker – who is, paradoxically, at once a pathetic ‘‘poor, crushed, human creature’’ and irresistibly powerful and charismatic – at Mythologies of the storyteller 29 the origin of its language.