The most immediate consequence of this newfound affluence is that the traditional triangular paradigm of rhetorical events becomes lopsided. Listen and you will hear a verbal carnival of such depth and diversity, of such extravagance and exuberance, that your ears will never be the same again. Mikhail Bakhtin, then, has something to tell us: listen. They designate composites-collections of voices, some in harmony, some in conflict. What we fail to notice is that these labels do not designate autonomous, univocal entities. We make inquiries, sometimes very probing ones, into ethos, and occasionally we investigate some rhetor in great detail. This question, the engine humming at the center of Bakhtin's vision, generating alien words like heteroglossy and polyphony, is one that rhetoricians do not ask. The essay concludes that Alexievich's work can offer the writer insights into how language marshals emotion and creates a sense of urgency by paying attention to the formal properties of language as writers we might listen to our own words in much the same way as Alexievich receives the testimony of her witnesses. The traumatic nature of the events being recounted and the fact that the text reflects her witnesses' speech acts contribute to the linguistic peculiarities of Alexievich's work. It considers the nature of Alexievich's role as a writer in curating the testimonies, and the performative nature of testimony as influencing the language used by her witnesses. the realm of literature, such as metaphor, repetition, parataxis and parallelisms, can be seen in Alexievich's testimonies. It argues that certain rhetorical and formal devices that otherwise belong to. It argues that the documentary novels of Svetlana Alexievich demonstrate some of the aesthetic similarities between the language of literature and the language of testimony. This essay considers what Svetlana Alexievich's documentary novels, which are collages of witness testimony might have to teach us about writing.
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