By Lynette Hunter
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Extra info for Modern Allegory and Fantasy: Rhetorical Stances of Contemporary Writing
Example text
The differences in terminology would not be of much interest in themselves, but judgments are being conveyed by way of words. It is as if the definitions, simply as definitions, pass judgment and are in effect capable oflimiting or extending the reading. Yet it is not at all clear that people are disagreeing about the same thing let alone discussing the same thing in different terms. I have discussed these particular confusions in detail in George Orwell: The Search for a Voice. To some extent that book explores a set of practical textual examples for many of the more theoretical issues discussed here, and certainly provides much of the impetus behind my own research.
That it is quite a lot' (SH I: g8). Possibly: like most fantasies it has lost its popularity as its grounds have dated, but it certainly has an enormous readership who keep recovering it. However, as Shippey points out, most critics dislike The Lord rif the Rings for two reasons: the first, restriction to topic (I 03), can be corrected by study of the writing; but the second 'ideological reluctance' (I 20) requires a re-setting of context clearly allied to specific sophistication in reading. Before reading Shippey on The Lord rif the Rings, I read the writing very much as a straightforward structuring of 34 Modern Allegory and Fantasy authoritative techniques.
The relationship between writer, reader and writing in these terms depends in the end upon what one thinks ofhistory, ideology and epistemology. For example, Hirsch and Fowler believe that the institution or canon is recuperable. Whereas for Kermode, the institution or canon is only recuperable as an ideological presentation of another ideology. If you take the former you imply that we can know, not just understand, the definiteness of history, and hence it is possible to emphasise the role of the writer as author.