"Self, Subject Positions, Authenticity, Voice and Identity"
To thine own self be true and it follows, as the night the day, that thou
canst be false to no man.
[T]he fundamental quality of good writing [is] the presence of the
individual writers, a presence made visible by what I choose to call an
authentic voice.- Donald C. Stewart (1994)
Ken Macrorie, Telling Writing (1970?) truth as authenticity - honest
writing rings true.
Women's Ways of KnowingThe Development of Self, Voice, and Mind. New
Gilligan, Carol. In a Different VoicePsychological Theory and Women's
Development. CambridgeHarvard UP, 198?.
Linklater, Kristin. Freeing the Natural Voice. New YorkDrama, 1976.
Crossing the Lines' in Academic DiscourseThe Transforming and
Transformative Voices of Three Women in Composition Studies. Forssman
Hill, Deborah L. Dissertation
Subject Terms relationship to female voice; role of Sommers, Nancy I.;
Bridwell-Bowles, Lillian; Bishop, Wendy (1953- )
Giving Students a VoiceLearning through AutobiographyByNichols, Laura;
Thought & Action, 2004 Winter; 19 (2)37-50.
Providing the Soapbox, Developing Their VoiceAn Analysis of Weblogs as a
Tool for Response to Literature in the Middle School Language Arts
Classroom. Cole, Katherine L. Dissertation
Hybrid Voices, Hybrid TextsWomen's Writing at the Turn of the
Millennium. Rye, Gill (ed. and introd.)
Dalhousie French Studies (DFS) 2004 Fall; 683-126. [special issue]
The LoopStudents Coming to VoiceThe Transformative Influences of Feminist
Pedagogy. Torrens, Kathleen M.; Riley, Jeannette E. Journal of the
Midwest Modern Language Association 2004 Fall; 37 (2)52-73.
Stanley, Patricia. The Patient's VoiceA Cry in Solitude or a Call for
Community. Literature and Medicine 2004 Fall; 23 (2)346-6 Abstract. . .
Reading illness memoirs is one way to explore how individuals deal with
isolation. My goal is to present the compelling voices of particular
patients and caregivers with the hope that readers might listen, connect
and be moved to build communities of caring.
Academic Voices and the Challenges of Tutoring. Price, Bob Nurse
Education Today 238p628-37 Nov 2003 Abstract. . . A key theme was
students' development of academic voice in the support relationship with
tutors. This voice helped them manage learning and determine what kinds of
help tutors should give. (Contains 31 references.) (SK)
Literacy Development for Students with No VoiceScheme and Schema. Russell,
Ann. Reading Improvement 403 104-09 Fall 2003 Abstract Provides a review
of current literature with emphasis on the issues of student empowerment,
early intervention strategies, and cultural issues in education which may
stimulate solutions for restructuring literacy education in response to the
No Child Left Behind legislation of 2001. Notes that reading failure for
speakers of nonstandard English dialect is related more to cultural issues
than language differences. (SG)
Authentic Student Voice in School GovernanceDeveloping Responsible
Democratic Citizens. Smith, Matthew. American Secondary Education 313
36-65 Sum 2003 Abstract A case study of how students have a voice in a
school community. Describes the governance system and the ways students
participate. Positive results have included a sense of ownership and pride,
cooperative adult-student relationships, and the development of greater
responsibility and citizenship. An appendix contains the school
"Playing the Game Called Writing"Children's Views and Voices. Grainger,
Teresa; Goouch, Kathy; Lambirth, Andrew. English in Education 372 4-15 Sum
Abstract Collects primary pupils' views of themselves as writers and their
preferences, attitudes and awareness of the source of their ideas in the
context of England's National Literacy Strategy. Underlines the importance
of listening to pupils' views about literacy, in order to create a more
open dialogue about language and learning, and to negotiate the content of
the curriculum in response to their perspectives. (SG)
Long Dumb VoicesReading Historical Fiction To Hear Silenced Women
Speak. Goldblatt, Patricia MultiCultural Review 22 35-38, 40-42 Jun 2003
Abstract Discusses the silencing of girls in mixed-sex education, noting
that a multitude of taught and untaught lessons reinforce established
routines that maintain ritualistic and repressive hierarchies. Asserts that
by establishing a body of literature, using forbidden words, and revealing
forbidden tales that speak to, and not just about, women, myriad voices can
emerge that announce women have something to say and will be heard. (SM)
The Voice of the People. Hess, Frederick M. American School Board Journal
904 36-39 Apr 2003 Abstract Elected school boards' skeptical eyes can
guard against bad management practices and ensure that different voices get
heard. Problems with board governance are a product of too little
democracy. A democratic reform strategy would make board elections
partisan, hold them on the same day as elections for more prominent state
or national offices, increase pay and support for board members, and repeal
or restrict sunshine laws. (MLF)
Changing What Is TaughtHearing the Voices of the
Underrepresented. Nichols, Joyce Coleman Innovative Higher Education v27
n3 p195-208 Spr 2003 Abstract In 1991, policy makers at Florida State
University made the decision to require all students to take multicultural
courses to fulfill general education requirements. This article provides
insights into the challenges that institutional policy makers face as they
seek to change the curriculum to include the voices of those previously
Philip G. Rochford, Personal Success Coach In short, [William] Covey makes
the point that to generate greatness you first have to find your own voice,
and then inspire others to find their voice. To find your own voice Covey
suggests that you bring together Your passion. Your talent. Your
conscience. The needs of your society and when these elements overlap into
a common space it translates to your unique personal significance and
manifests your own voice.
Personal Success StrategiesBeyond Success to Greatness. The Trinidad
Guardian 27 Jan 2005
Marian WoodmanIn my present work, I am attempting to help women experience
this in their own bodies, in their own souls. I take thirty women on
ten-day intensives into a beautiful place in nature. Along with a voice
person and bodyworker, we work with their dreams to open up their bodies
and help them find their
Anwaar HusseinThe world in general, and the Iraqis in particular, should be
grateful to the Americans for helping them find their own voice, attain
their own freedom, and make their own way. This President is right
Sustainable globalization will not be possible if the people of Latin
America, Africa and Asia do not find their own voice, and cease to model
themselves on and be pressured by the USA and
Patrick GaleI can only strive for honesty, drawing on my own experience.
I've been doing little else now for twenty years so at least have had time
to try various methods on for size. . . .
I tend to view writing fiction as a kind of spiritual ventriloquism - a
chance to lose myself in characters I make up and who are often terminally
I've always felt that reading is the best way to learn how to write. Find
the sort of author you want to be. Copy them shamelessly. Take their work
to pieces to find out how it gets its effects. Dare to improve on it. Very
few of writers find their own voice immediately.
Or consider this breathtaking pronouncement from a U.K. licensing court in
1950 A woman is not a person?
The Womens Movement, of course, put this statement and others like it,
firmly and permanently in the rubbish bin. They did this by helping women
to find their own voice. And this is where I suggest that advocacy for
people with disabilities be firmly groundedin assisting people with
disabilities find their own, unique voice.
Jan K. Neilson, SermonThis quest to find one's own voice is universal, a
fundamental task of living this
Dina Friedman's Monthly Writing Advice
Vol. 1 # 4, September 2001 - Finding Your Own Voice
Writers, on the whole, are not ensemble players, but sometimes they forget
that it's up to them to find their own voice. When asking for feedback,
beware of trying to please others. Ask yourself, "does this information
help me with MY vision of MY own work," or am I merely succumbing to
someone else's vision or interpretation? A good reader will help you
"midwife" your own voice more fully without imposing his or her own voice
in the process. This is not to say that their feedback isn't valid.
FINDING YOUR VOICE
By Cynthia Sterling
Ask any editor what he or she is looking for in a new writer
and, nine times out of ten, the answer will be a fresh voice.Then ask those
same editors to define voice and their answers will be variations of I
can't put it into words, but I'll know it when I see it.
Webster's defines voice as distinction of form.Voice is what
makes your writing distinct from any other author's. It's the unique way
you put words on paper. Some voices are more distinctive than others. See
if you can match the following examples to their authors. . . .
Each of the above authors has a very distinctive voice. Their
word choices, sentence structures, settings and characters are all
hallmarks of their particular voices. . . .
How do you find your own fresh voice that will have editors
and readers clamoring for your work? Here are some things you may find
helpful. Turn off the internal editor. . . . Take a look at some of your
informal writing. . . . Keep a journal. Journaling is an excellent way to
develop your voice. . . . Experiment with different styles. . . . Write
in first person. . . . Edit judiciously. Many people start to write with
strong, unique voices, then make the mistake of editing the life out of
their prose. . . . If beginning a sentence with and sounds right to you,
don't change it because of a critique partner's objections or to correspond
with a writing rule you read somewhere. . . . Your decisions reflect your
unique voice-the one editors are looking
ReviewFinding Your VoiceHow to Put Personality in Your Writing, by Les
Edgerton AuthorSusan Peck
Original Publication Date in Love NotesAugust 2003
Voice. Its a highly desirable yet elusive commodity. According
to the insider buzz, editors and agents are diligently searching for
authors with a fresh new voice. And nearly every writing teacher out there
puts voice right up there with plot and characterization as an element we
need to develop. We all recognize it when we read a story by an author who
has a distinctive voice. But what exactly is it? And more importantly, how
do we get it?
The good news is, according to Les Edgerton, voice is
something we each already possess. And in Finding Your VoiceHow to Put
Personality in Your Writing, Edgerton sets out to tell us how to let that
unique voice shine.
Edgerton begins with several chapters discussing how writers
lose their own voice and adopt either a highbrow writerlyvoice or a neutral
voice devoid of personality, what Tom Wolfe called the beigevoice. He then
launches into a discussion of the elements that combine to create voice
tone, mood, vocabulary and imagery.
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