In this book Adam Piette establishes fascinating new links between sound effects and the representation of memory in literary texts. He sets out a workable taxonomy of sound-repetitions in prose and formulates, through a theory of alerting-devices, the ways in which the reader's attention is drawn to the acoustic surface of the text. Piette scrutinizes Mallarm???'s prose-poetry, Proust's musical syntax, Joyce's memory-rhymes (from the Portrait of the Artist through Ulysses to Finnegans Wake ), and Beckett's prose and ...
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In this book Adam Piette establishes fascinating new links between sound effects and the representation of memory in literary texts. He sets out a workable taxonomy of sound-repetitions in prose and formulates, through a theory of alerting-devices, the ways in which the reader's attention is drawn to the acoustic surface of the text. Piette scrutinizes Mallarm???'s prose-poetry, Proust's musical syntax, Joyce's memory-rhymes (from the Portrait of the Artist through Ulysses to Finnegans Wake ), and Beckett's prose and drama, demonstrating that sound effects act as intricate reminders of memory-traces in the text. Despite how widely the four writers diverge in their representations of memory, Piette shows that the use of this memory-rhyme technique is common to them all.
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