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The writer's voice (or writing voice) is a term some critics use to refer to distinctive features of a written work in terms of spoken utterance. The voice of a literary work is then the specific group of characteristics displayed by the narrator or poetic "speaker" (or, in some uses, the actual author behind them), assessed in terms of tone ...
Authorial intentionalism is the hermeneutical view that an author's intentions should constrain the ways in which a text is properly interpreted. [1] Opponents, who dispute its hermeneutical importance, have labelled this position the intentional fallacy and count it among the informal fallacies .
They have less narrative or scenic description and much more dialogue than other early 19th-century novels. Austen shapes a distinctive and subtly constructed voice for each character. Her plots are fundamentally about education; her heroines come to see themselves and their conduct more clearly, and become better, more moral people.
These intentions could be initial, medial or final, but intentionalist editors (most notably represented by Fredson Bowers and G. Thomas Tanselle editing school) generally attempt to retrieve final authorial intentions. The concept is of particular importance for textual critics, whether they believe that authorial intention is recoverable, or ...
They warn of the dangers interpretations could suffer from when associating the subject of inherently meaningful words and language with the personality of one authorial voice. Instead, readers should allow a text to be interpreted in terms of the language as "author."
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In literature, polyphony (Russian: полифония) is a feature of narrative, which includes a diversity of simultaneous points of view and voices. Caryl Emerson describes it as "a decentered authorial stance that grants validity to all voices". [1]
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