Spitzer identifies in “free indirect speech” (Erlebe Rede) the typical space of interference, in which the narrator’s voice conveys the plurality of the voices of the represented world. The great artist’s secret, as a narrator, is to keep her/his own voice while using many of them, as Bachtin observes.
The narrator’s voice manifests itself as the place where the different voices acting in the narrative are gathered and directed it includes the protagonists’ voices, and therefore their opinions and worldviews, as well as the “voices” (opinions, representations) of the social and historical world at large in which the story is set. They have reflected on the ways in which voice is organized and modulated in narrative texts, or better, voices are moulded in their plural, polyphonic and choral quality. The course builds upon some fundamental contributions in literary criticism of the first half of the 20th century, in particular by Russian Michail Bachtin and Austrian Leo Spitzer in the fields of narratology and stylistics. Polyphony and choral voice in modern and contemporary Scandinavian prose – Flerstämmighet och kör i modern och samtida skandinavisk prosa
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