Distributing Legibility
Bibliographic Data
| ID | 2229631 |
|---|---|
| Authors | Frances Ferguson (corresponding author) |
| Year | 2023 |
| Volume | 50 |
| Issue | 1 |
| Pages | 67-87 |
| Publication date | 2023-09-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Critical Inquiry (JOURNAL) |
| Journal identifiers | ISSN: 0093-1896 • E-ISSN: 1539-7858 |
| Publisher | University of Chicago Press (PUBLISHER • US) |
| DOI | 10.1086/726306 |
| OpenAlex | W4386448468 |
| Language | EN |
| References cited | 3 |
Stenography had been used for centuries to capture the words of orators, lecturers, and royals, but there was a significant expansion of the use of stenography in the eighteenth century. During the period when Samuel Richardson held the contract to report on decisions reached in the House of Commons, Thomas Gurney began transcribing the testimony of many speakers at trials in the Old Bailey. In this article, I suggest that Richardson, increasingly aware of stenography as a technology for capturing many different speakers’ words verbatim, ratcheted up epistolarity to establish a high-water mark for the multivoiced novel. He depicted characters who weren’t merely using stenographic concisions to keep up with the pace of speech but were essentially taking dictation from themselves. In a final section I consider Edgar Allan Poe’s “The Gold-Bug” as a repudiation of the multivoiced novel as a literary form and an effort to humiliate its voice-centeredness
Aesthetics · Art · Dictation · House of Commons · Legibility · Linguistics · Literature · Pace · Period (music · Political science · Section (typography · Visual arts · Computer Science · History · Law · Law in Society and Culture · Narrative Theory and Analysis · Philosophy · Psychology · Shakespeare, Adaptation, and Literary Criticism
| Citation velocity | historical |
|---|---|
| Highly cited | No |