Though the Author’s empire is still very powerful (recent criticism has often merely consolidated it), it is evident that for a long time now certain writers have attempted to topple it. In France, Mallarme was doubtless the first to see and foresee in its full extent the necessity of substituting language itself for the man who hitherto was supposed to own it; for Mallarme, as for us, it is language which speaks, not the author: to write is to reach, through a preexisting impersonality — never to be confused with the castrating objectivity of the realistic novelist — that point where language alone acts, “performs,” and not “oneself”: Mallarme’s entire poetics consists in suppressing the author for the sake of the writing (which is, as we shall see, to restore the status of the reader.) Valery, encumbered with a psychology of the Self, greatly edulcorated Mallarme’s theory, but,
(with more or less effort) also could cross it. Suddenly he appears, with his voice unmistakable, and narrates us all the experience that ends at the epiphanies, the revelations, and epigrams. As Booth says: Larkin presents himself in his poems as “a vivid and actual being who is the reverse of the ‘Invisible Poet’ (Kenner’s phrase for Eliot) invented by Modernism’s quest for impersonality” (Everett 1988, 140). He is a highly “visible” poet, who seems to have no inhibition about addressing the reader in his own candid, natural tone. (1992, 6) When Larkin publishes his first book, The North Ship, has only passed two from the appearance of the Four Quartets of Eliot, that maybe can explain that they must pass ten years more until the first book sees the light, in 1955 The Less Deceived,
That this is by and large still the case 80 years later if one looks at the model rather than at its caricature is something that would have probably surprised him quite a bit. (He also described, almost clairvoyantly, the NPM system, which for him was the most dehumanizing of organizational forms; see Samier 2001.) Apart from the caricature, for Weber, the most efficient PA was a set of offices in which appointed civil servants operated under the principles of merit selection (impersonality), hierarchy, the division of labor, exclusive employment, career advancement, the written form, and legality. This increase of rationality his key term would increase speed, scope, predictability, and cost-effectiveness, as needed for an advanced mass-industrial society. (Weber 1922: esp. 124-130) And although we are well beyond such a world and in what we may or may not call the "network society" , these, or almost all of these, are not obsolete criteria, but in fact, they are
They are of 3 types: postulatory, argumentative (), and formulative. 4. A fourth feature of scientific prose is the use of quotations () and references (). 5. A fifth feature of scientific style is the frequent use of foot-notes (), not of the reference kind, but digressive ( ) in character. 6. A sixth feature of scientific style is the impersonality (frequent use of passive constructions). Impersonal passive constructions are frequently used with such verbs as: suppose, assume, presume, conclude, point out. The characteristic features enumerated above do not cover all the peculiarities of scientific prose, but they are the most essential ones. 20. LANGUAGE OF THE DRAMA The language of plays is entirely dialogue. It is not the exact reproduction of the norms of colloquial language, although the playwright
They are of 3 types: postulatory, argumentative (), and formulative. 4. A fourth feature of scientific prose is the use of quotations () and references (). 5. A fifth feature of scientific style is the frequent use of foot-notes (), not of the reference kind, but digressive ( ) in character. 6. A sixth feature of scientific style is the impersonality (frequent use of passive constructions). Impersonal passive constructions are frequently used with such verbs as: suppose, assume, presume, conclude, point out. The characteristic features enumerated above do not cover all the peculiarities of scientific prose, but they are the most essential ones. LANGUAGE OF THE DRAMA (I. Galperin "Stylistics") The language of plays is entirely dialogue. It is not the exact reproduction of the norms
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