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Peter carey kelly gang7/6/2023 Yet voice-whatever that may be and however we may define it-is a performance: “the writing in the voice” to which Derrida has referred, is that rhetorical expression of presence inherent in our speech and arranged according to the conventions and rules of language. It seems to want to tell us where it’s been over and above the grammatical indicators of where it’s coming from. Voice hints, somewhat tantalisingly, at the historical traces of its past locations through these telltale signs of social and cultural situatedness. Our descriptions endeavour, in some form, to identify voices in sensual terms that either locate them in time and space or which respond to the sensuality of hearing by making value judgments that categorise voices as having an impact upon the listener-pleasurable or otherwise. When we speak about voice as it relates to specific individuals, we invariably strive to define its qualities: idiomatic, posh, intellectual, lowbrow, highbrow, regional, rural, suburban, urbane, musical, mellow, honeyed-a range of tonal, and competence-defined terms get used, but also place-related ones in terms of accent-geographical indicators like language and vernacular patterns of speech. Peter Carey, True History, Ned Kelly, cultural voice Abstract
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