JAC 14.1 (1994)
Finding Voice through Computer CommunicationA New Venue for Collaboration
Marion H. Fey
In characterizing the development of voice for women, psychologist Carol
Gilligan suggests that women speak in a "different voice," a voice that
attends to human relationships in the context of care and connection (18).
Feeling safe to comment on her own feelings, Charlotte began to develop her
voice, a voice that offered strength to her person and that she would use
in her writing.
Literacy and the development of voice prospered in this dual environment of
silence and interaction, an environment that parallels the tensions in the
development of thought. Bakhtin points to an inner-outer tension in the
development of meaning, a process that occurs in communication with others,
through "the layering of meaning upon meaning, voice upon voice,
strengthening through merging (but not identification), the combination of
many voices (a corridor of voices) that augments understanding" (121).
Collaboration through the computer enables the connections for this
transaction and at the same time provides the silence and freedom to
consider one's own intention, to develop one's own voice, not from a
sovereign self but from a self freed in the midst of supportive peers. Such
learning coincides with the feminist agenda neither to essentialize a
sovereign self nor to submit to the postmodern elimination of author.!
Finding Your Voice by Susan J. Letham
In writing, voice is the way your writing 'sounds' on the
page. It has to do with the way you write, the tone you take--friendly,
formal, chatty, distant--the words you choose--everyday words or high-brow
language--the pattern of your sentences, and the way these things fit
in--or notwith the personality of the narrator character and the style of
The voice I'm using to write this is friendly, familiar, and
direct, at least I hope it is. I'm writing more or less the way I would
speak if we were chatting face-to-face. When I write poetry, fiction, or
social policy articles, my voice is quite different. I don't talk straight
to my reader as I'm doing to you, I move back a step, become more distant,
choose other words and different sentence structures.
Martin, Harold C. and Richard M. Ohmann. The Logic and Rhetoric of
Exposition, rev. ed. New YorkHolt, Rinehart and Winston, 1963.
In the discussion that follows, terms relevant to the rhetoric of speech
will occasionally appear simply because they are now current and vivid (the
writers voice,for example, and the reader as audience). The discussion
itself, however, has to do only with writing.
The WriterCharacter, Persona, Voice
. . . like an actor putting on one mask after another until he finds the
one that best represents not only what he has to say but the impression he
would like to make while saying it. . . .
Let us say that, in every writing situation, the writer uses a
voiceto indicate the dramatic relationship he intends to establish between
himself and his readers. No reader of sensibility is unaware of the
writers voice; therefore no writer can afford to be indifferent to it, and
no good writer is.
A shifting voiceusually indicates multiple purposes or an unclear purpose.
. . . Yet voice continues to be heard, even when it is silent.
Consistency in Viewpoint Voice. [passive/active]
At 07:29 PM 22/06/2007 -0400, you wrote:
>I've been asked to suggest some readings on 'writing and voice' and/or
>and power' for students to read in a course on 'skills' in our Social Work
>program. I don't know much about the course, but I have been working with
>instructors in SOWK, so far on formulating good assignments. Their rapidly
>expanding program has students ranging in age from 17 to 40+, and is very
>diverse. The writing problems are legion meaning, I gather, that only a
>minority of the students are able to submit a coherent and relatively
>well-written paper sans plagiarism. I think the course in question is being
>designed to encourage students to take their writing seriously and work at
>improving it. (I've not seen the outline, however).
>I am grateful for your suggestions.
> To leave the list, send a SIGNOFF CASLL command to
> [log in to unmask] or, if you experience difficulties,
> write to Russ Hunt at [log in to unmask]
>For the list archives and information about the organization,
> its newsletter, and the annual conference, go to
To leave the list, send a SIGNOFF CASLL command to
[log in to unmask] or, if you experience difficulties,
write to Russ Hunt at [log in to unmask]
For the list archives and information about the organization,
its newsletter, and the annual conference, go to