Medicine

Gilder, S. S. B.

doi:10.1093/oxfordjournals.bmb.a073637

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Conclusion: Collaborative Composition1

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2021

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“…could deprive him of his responsibility." 93 For Du Maurier himself, the art of prose was amenable to interpersonal assistance, whereas his other talent-illustration-was not: "A story can be dictated," he declares, "but good eyes are needed to make a drawing." 94 While he needs his own vision to illustrate, an oral collaboration allows him to narrate through another.…”

Section: Conclusion: Collaborative Compositionmentioning

confidence: 99%

Writing Novels, Simulating Voices: Euphonia,Trilby, and the Technological Sounding of Identity

McGuire¹

2021

Victorian Literature and Culture

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This article troubles a tendency in literary criticism to equate novelistic speech with sound recording. It recovers the history of Joseph Faber's Euphonia (a speech simulator exhibited from the 1840s to the 1880s) in order to articulate an alternative vocal ontology of the novel—one of simulation rather than recording. The Euphonia has striking parallels to the eponymous heroine of George Du Maurier's Trilby (1894): their comparably mechanized utterances flatten hierarchies of difference, instead of phonographically using the voice to archive particularity. In dialogue, the Euphonia and Trilby elucidate the relationship between page and voice as always collaborative, though contoured by power.

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Section: Conclusion: Collaborative Compositionmentioning

confidence: 99%

Writing Novels, Simulating Voices: Euphonia,Trilby, and the Technological Sounding of Identity

McGuire¹

2021

Victorian Literature and Culture

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Medicine

Cited by 1 publication

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Writing Novels, Simulating Voices: Euphonia,Trilby, and the Technological Sounding of Identity

Writing Novels, Simulating Voices: Euphonia,Trilby, and the Technological Sounding of Identity

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