By Christopher Eagle
Examining representations of speech problems in works of literature, this primary number of its type founds a brand new multidisciplinary subfield comparable yet no longer restricted to the rising fields of incapacity reports and clinical humanities. The scope is wide-ranging either when it comes to nationwide literatures and old classes thought of, attractive with theoretical discussions in poststructuralism, incapacity stories, cultural stories, new historicism, gender reviews, sociolinguistics, trauma reviews, and scientific humanities. The book’s major concentration is at the improvement of an expertise of speech pathology within the literary imaginary from the late-eighteenth century to the current, learning the unconventional, drama, epic poetry, lyric poetry, autobiography and autopathography, and medical case stories and guidebooks on speech treatment. the amount addresses a growing to be curiosity, either in pop culture and the arts, in regards to the portrayal of stipulations equivalent to stuttering, aphasia and mutism, in addition to the prestige of the self in terms of these stipulations. due to the fact speech pathologies are neither health problems nor outwardly actual disabilities, severe reports in their illustration have tended to occupy a liminal place on the subject of different discourses equivalent to literary and cultural conception, or even incapacity experiences. one of many fundamental goals of this assortment is to handle this marginalization, and to place a cultural feedback of speech pathology inside of literary studies.
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Extra resources for Literature, Speech Disorders, and Disability: Talking Normal
At that time she said “bridegroom of blood” in reference to the circumcision. (Exod 4:24–26) The passage seems to allude to a more extensive tradition, long since lost, but in its present context it concerns Moses on his way to Egypt to execute the prophetic commission he has only just received. Since there is no antecedent for the “him” whom yhwh meets, we cannot say who precisely is threatened (a calculated uncertainty, as in the similar story of Jacob and the angel, Gen 32). However, the fact that the son is speciﬁed in the following verse suggests that the attack was originally against Moses.
Is this refrain ﬁ xation or the tautology representative of one mode of the sublime? An answer would be possible only if we could separate the active personae of the scene. To schematize brieﬂy, there are three possible “voices” here: those of yhwh, his people, and the prophet. The scene offers only two personae however: the one (offstage) who questions the watchman and the watchman who answers. If the “me” addressed by the questioner is the prophet, the transition to the third person which introduces his response may again suggest the self-alienation that allows the threatened subject to escape ﬁ xation.
4. Thomas Weiskel, The Romantic Sublime: Studies in the Structure and Psychology of Transcendence (Baltimore: The Johns Hopkins University Press, 1986), 23. 5. Weiskel, The Romantic Sublime, 28. 6. Biblical quotations follow the Revised Standard Version with occasional modiﬁcations. 7. See J. Gerald Janzen, “Habakkuk 2:2–4 in the Light of Recent Philological Advances,” Harvard Theological Review 73 (1980): 53–78. 8. 9, trans. S. Pines, 2 vols. 437. 9. For Dante’s “call,” see Purgatorio 30:55; for his failure of voice, 31:16–21.