Ross uses theoretically grounded notions of voice to propose new
ways of explaining how Faulkner's novels and stories express
meaning, showing how Faulkner used the affective power of voice to
induce the reader to forget the silent and originless nature of
written fiction. Ross departs from previous Faulkner criticism by
proceeding not text-by-text or chronologically but by constructing
a workable taxonomy, that defines the types of voice in Faulkner's
fiction: phenomenal voice, a depicted event or object within the
represented fictional world: mimetic voice, the illusion that a
person is speaking psychic voice, one heard only in the mind and
overheard only through fiction's omniscience: and oratorical voice,
and overtly intertextual voice that derives from a discursive
practice - Southern oratory - recognizable outside the boundaries
of any Faulkner text and identifiable as part of Faulkner's
biographical and regional heritage.
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