English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Tools annual

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Presents the access of premium content as premium feature

Premium Content

Global: Zendy Plus annual

Global: Zendy Free Plan

The present article sets to examine the applicability of Mikhail Bakhtin's concepts of polyphony and heteroglossia to E. L. Doctorow's The Waterworks. Doctorow, by deploying postmodern historiography and blurring the line between the real and the marvelous, portrays nineteenth century New York revisionistically and likewise, depicts how the amalgamation of the monologic, authoritarian power of the imperious capitalism as Augustus Pemberton or the real historical figure William Magear Tweed with the 'excentrics' gives rise to a dialogic, polyphonic quality within the novel. Also, discussed is the centrality of the narrator, McIlvaine that boosts the dialogized ambience and stimulate the effort to decrown the 'regime of power.'

E. L. Doctorow's <i>The Waterworks</i>: A Polyphonic Novel