“Stemmens rum” (The room of the voice) launches an investigation of the concept of literary voice, as it takes form and comes to be heard in Tomas Espedals Biografi Dagbok Brev. Beginning with the aforementioned trilogy, the works of Espedal has often been described as autobiographical, and the voice within it being read as specifically auto fictious when describing the intimate contact to the reader, this voice embodies. This thesis poses the question of what happens if instead we read the voice of the text, not (just) as an auto fictitious statement, but as a real living voice of its own from within the aesthetic body of the fictional text? This is done through three separate analysis of Espedals three novels, based on Lilian Munk Rösings analytical understanding of the literary voice as an aesthetic phenomenon, with an intrinsic value of its own as she ponders this literary view on Horace Engdahls Beröringens ABC, a theoretical work of which we will likewise let the conceptual dialectic be founded upon; with Sianne Ngais emotional and affective theoretical concept of literary tone in Ugly Feelings as a fundamental dialogical partner of discussion.
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