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Madigan, Patricia Alice. "A performance analysis of William Faulkner's Absalom, Absalom! /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487327695624074.
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Strawn, John R. "Dark house : William Faulkner and the making of Absalom, Absalom! /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946302.
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Palomaki, Kurt R. "Myth, ritual, and taboo in William Faulkner's Absalom, Absalom!" Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1992. http://www.kutztown.edu/library/services/remote_access.asp.
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Worsley, Christopher Geoffrey. "The rhetoric of reaction : crisis and criticism in William Faulkner's Absalom, Absalom!" Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56624.
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Absalom, Absalom! presents the voices of a series of characters who suffer crises when they discover the meaning in other characters' languages or voices to be different from their own. This difference creates an aporia (a radical doubt, a sense of loss of familiar meaning) which disrupts the listening individual's sense of his or her previously 'unified' self. I show that these characters in Faulkner's novel do not have unified voices; their narratives develop as repetitions of the crisis moment when another's voice influenced their way of relating to themselves through language.I also show that the crisis of meaning that characters in the book experience is enacted on another level. A difficult book to read because of its many textual figures of doubt, Absalom may be said to generate a crisis of interpretation in its readers. This thesis offers a way of reading the text which explores the various potential meanings of these aporias in the novel's discursive surface, and so avoids the experience of crisis, of anxiety. This method of reading is based on the mode of reading exemplified by one of the text's own characters: Shreve McCannon, who is not discouraged by the fact that neither the narratives he hears nor the speculative, hypothetical narratives he produces in response make complete and coherent sense of everything.
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Lännström, Kristina. ""If I had been there I could not have seen it this plain" : Minnesforskning och William Faulkners Absalom, Absalom!" Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-21489.
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In this essay I employ memory theories to examine Absalom, Absalom! by William Faulkner. How are the memories depicted and how do they function in the novel? What are the characters 'allowed' to remember? Scholars that have written about William Faulkners usage of memories and narrative time in his novels, often claim that they together represent and create a sense of determinism and/or fatalism. Even though I agreed with that opinion, regarding time and memory in a lot of Faulkners novels, I wondered if these features in the text might not represent/mean something more, beyond that. One scholar have expressed the view that William Faulkners characters resemble blind marionettes of Destiny. I instead claim that the characters themselves, via their individual memories and temporal relations, create an internal determinism, connected with cultural memory, norms and traditions. I try to examine both the individual memories, as depicted in the novel, and the novel in its entirety, using different memory theories and narratology.
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Alves, Márcia Lappe. "Experience/experimentation : Faulkner as a storyteller." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26724.
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Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência.This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers.
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Delgadillo, Manuel. "Traces of the Dark Sublime in William Faulkner's "The Bear," Light in August, and Absalom, Absalom!" FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/990.
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The purpose of this thesis is to explore William Faulkner’s paradoxical modernist aesthetic. While his writings evince primal, earthy, and post-Civil War angst-ridden qualities, Faulkner’s narratives are also found to be hyper-postmodern. Using Jacques Derrida’s theories on the absent-present trace, I will show how certain micromoments in three of Faulkner’s texts showcase the “trace” forming a pathway to the inaccessible and unattainable sublime. I will use “trace” and general theories of the “sublime” as methodological tools to explore Faulkner’s narrative of pastoral loss, the cultural institutionalization of racial differences, as well as structures of mourning/melancholia that lead to the disruption of the pathway between trace and sublime. The imagery/narrative palpability, manifested through Faulkner’s pictorial imagination, brings Derridean theory to earth, yet meanwhile transcends any theoretical or conceptual methodology. The three micromoments will reveal ruptures (irreconcilable meanings) at work in the margins of these texts.
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Holmgren, Lindsay. "The journey within : empathy and ontology in William Faulkner's Absalom, Absalom! and Ingmar Bergman's Persona." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33904.
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"The Journey Within" deals with how the receiver (reader/viewer) engages with the novel and the film. The thesis primarily focuses on Faulkner's novel, incorporating Persona largely as a means by which to illustrate the more carefully concealed reader-engagement strategies in Absalom, Absalom! Starting with a review of Faulkner criticism that opens itself up to this inquiry, the thesis leads into a detail study of the engagement strategies used to foster identification, alignment, sympathy, and empathy among receivers. Employing Umberto Eco's criticism involving "Model Readers" who "actualize" texts, as well as other reader and viewer response theory, I demonstrate that certain receivers experience a specific, heightened engagement with the work. This "Model" receiver restructures her ideologies to accord with what the work expects from her. Ultimately, this particular engagement leads to ontological participation in the work among its receivers. Martin Heidegger's phenomenological investigation, Being and Time, helps illustrate this ontological participation.
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MacDonnell, Katherine A. "How the Myth Was Made: Time, Myth, and Narrative in the Work of William Faulkner." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/471.
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It is all too easy to dismiss myth as belonging to the realm of the abstract and theoretical, too removed from reality to constitute anything pragmatic. And yet myth makes up the very fabric of society, informing the way history is understood and the way people and things are remembered.
William Faulkner’s works approach myth with a healthy skepticism, only gradually coming to find value in a process that is often destructive; his works demand of their readers the same perceptive criticism. This thesis approaches myth through the lens of Faulkner's "A Rose for Emily," Absalom, Absalom!, and "The Bear."
Faulkner's texts ultimately ask readers to bear witness by thinking critically about the process of myth-making, not only in the realm of literature but in the world as a whole.
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Puxan, Oliva Marta. "Narrative Voice and Racial Stereotypes in the Modern Novel: Joseph Conrad's Lord Jim and William Faulkner's Absalom, Absalom!" Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7454.
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Aquesta tesi vol demostrar que Joseph Conrad i William Faulkner, en les novel·les Lord Jim i Absalom, Absalom! respectivament, reflexionen sobre la credibilitat de la veu en la ficció i del discurs racial per mitjà de l'exploració tècnica de la veu narrativa i dels estereotips racials. Nascuda de les crisis històriques que giren al voltant de les relacions racials, patides al si de l'Imperi Britànic de finals del segle XIX i al Sud dels Estats Units durant la dècada de 1930, l'articulació d'aquests dos aspectes en les novel·les permet una representació de les qüestions racials que és innovadora i ambivalent. Certament, la interrogació de la credibilitat dels discursos, tan comú en la novel·la moderna, porta a la sofisticació tant de les estratègies narratives que exploren el problema de la fiabilitat en la ficció com de l'ús dels estereotips racials a dins de la narració, entesos, doncs, com a formes narratives. És justament en l'anàlisi de les correspondències entre els aspectes històrics i els aspectes formals on la tesi troba la manera complexa en què aquestes dues novel·les expressen les tensions racials pròpies dels contextos històrics que les engendren.This dissertation intends to demonstrate that Joseph Conrad's novel Lord Jim and William Faulkner's Absalom, Absalom! explore the narrative strategy of narrative voice, on the one hand, and racial stereotypes, on the other, in order to reflect upon the credibility of voice in fiction as well as the trustworthiness of racial discourse. Emerging from the historical ideological crisis that involved race relations in the late nineteenth-century British Empire, and in the 1930s U.S. South, the blending of these two aspects allowed an alternative and ambivalent representation of racial issues in fiction. The interrogation of credibility, very common in the Modern novel, results in these novels in a sophistication of the strategies that address the problem of narrative reliability, and of the use of racial stereotypes for narrative purposes in other words, their conception as narrative forms. By paying attention to these two aspects, this thesis claims that it is in the analysis of their intertwining where we may find the expression of the historical tension born of complex race relations.
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Shimanuki, Kayoko. "The Locus of Identity:Death, Genealogy, and History in William Faulkner's Works." Kyoto University, 2013. http://hdl.handle.net/2433/180627.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第17965号
人博第661号
新制||人||159(附属図書館)
25||人博||661(吉田南総合図書館)
30795
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)教授 水野 尚之, 教授 廣野 由美子, 准教授 小島 基洋
学位規則第4条第1項該当
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Williams, Jessica Jain. "Postmodern Narrativity in Absalom, Absalom! and Memento: Examining Telling Similarities in the Techniques of William Faulkner and Christopher Nolan." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001170.
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Pavret, de la Rochefordière Julie. "Narrations et témoinages dans True History of the Kelly Gang de Peter Carey, La main coupée de Blaise Cendrars et Absalom! Absalom! de William Faulkner." Toulouse 2, 2010. http://www.theses.fr/2010TOU20037.
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Le témoignage, initialement utilisé par la justice, constitue désormais un support à la création littéraire. Mais pourquoi témoigner ? Quelles sont les options que la littérature permet d’envisager ? True History of the Kelly Gang, La main coupée et Absalom ! Absalom ! rapportent individuellement trois formes de témoignages, à la fois différentes mais aussi complémentaires. Peter Carey appréhende ce type de récit à travers les lettres fictives que le bandit australien Ned Kelly aurait adressées à sa fille. La galerie de portraits rassemblés par Blaise Cendrars décrit l'expérience d'un soldat lors de la première Guerre Mondiale ; ses traits sont similaires avec ceux de l'auteur au point de semer la confusion entre l'identité des deux hommes. William Faulkner poursuit sa saga des familles du Sud : Quentin Comspon tente de reconstituer l'histoire de Thomas Sutpen à travers les nombreux récits de témoins pour découvrir la vérité, celle d'un homme mais surtout celle d'une société déchue. Ces auteurs ont cependant en commun de faire cohabiter la fiction et la réalité, deux notions contradictoires mais pourtant indissociables dans le cadre du témoignage. Chacun propose une narration originale pour « mettre en forme » ce type de récit appréhendé dans la perspective de Derrida. Ces trois propositions illustrent à premier abord la volonté de leurs auteurs respectifs de restituer la vérité : le but que poursuit le témoin. Mais chacune de ces tentatives représente également un défi pour l'écrivain. Le témoignage ne constitue plus seulement une quête pour ces personnages mais davantage un « tour de force » littéraire pour celui qui en est l'instigateurTestimonies, initially used by judiciary institutions, have found their way into literary creation. Why do people testify? What are the options suggested by literature? True History of the Kelly Gang, La main coupée and Absalom! Absalom! present three types of testimony, which are both different and complementary. Peter Carey approaches this kind of narrative through the fictional letters that the Australian outlaw Ned Kelly is supposed to have written to his daughter. The gallery of portraits assembled by Blaise Cendrars describes a soldier's experience during WWI ; this soldier's features are so similar to the author's that the two men's identities appear to merge. William Faulkner continues his saga of southern families : Quentin Compson tries to recreate Thomas Sutpen's story by confronting the narratives of various witnesses in order to discover the truth about that man and above all about an extinct or fallen society. What is common to the three authors is the way in which fiction and ‘real life' - two contradictory yet inseparable notions - coexist in their narratives. Each of them offers an original narrative method (examined here from the perspective developed by Derrida) to “condition” this type of story. The three methods seem to be answers to the conundrum of how to produce a narrative that is ‘true' to reality. But in addition to being a quest where the characters are concerned, each of them is also a distinct challenge for the writer who needs to pull off a literary tour de force
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Silva, Ívens Matozo. "Entre os fantasmas do passado e as ruínas do presente: a decadência familiar em Absalão, Absalão!, de William Faulkner, e Ópera dos mortos, de Autran Dourado." Universidade Federal de Pelotas, 2017. http://repositorio.ufpel.edu.br:8080/handle/prefix/3470.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
O meio literário tornou-se um ambiente fecundo para a representação e elaboração de narrativas que procuram refletir sobre as relações familiares. Entre os diversos assuntos explorados nessas obras, a temática da decadência tem sido um motivo recorrente. É sob esse aspecto que se insere a presente dissertação, a qual possui o objetivo de examinar como se configura o tema da decadência nos romances Absalão, Absalão! (1936), de William Faulkner, e Ópera dos mortos (1967), de Autran Dourado, levando em consideração a influência das transmissões transgeracionais e o peso simbólico do passado sobre os integrantes das dinastias Sutpen e Honório Cota. Para atingirmos esse objetivo, procuramos investigar o valor simbólico atribuído à figura paterna presente nos romances, enfatizando o seu papel na constituição da estrutura e na formação da identidade familiar; examinar as relações intersubjetivas e as transmissões comportamentais entre ascendentes e descendentes; analisar o papel da memória familiar e os efeitos causados pela compulsão dos descendentes em preservar as heranças ancestrais; e, por fim, verificar o modo como as memórias familiares se articulam na configuração espacial, mais precisamente na casa, como vestígios mnemônicos que asseguram a presença dos mortos e apontam para a apreensão do passado frente às transformações históricas e sociais. Para tanto, nossa pesquisa está ancorada nos pressupostos teóricos desenvolvidos por Assmann (2011), Benjamin (2012; 2013), Candau (2011), Freud (1996) e Penso, Costa e Ribeiro (2008). Os resultados deste trabalho evidenciam que as transmissões transgeracionais e o peso simbólico do passado exercem uma forte ação negativa sobre as personagens. Além disso, a decadência que acomete as duas famílias funciona como uma representação metafórica e metonímica que correlaciona a trajetória de ascensão e queda das duas dinastias com o esfacelamento das sociedades às quais aludem as narrativas.
The literary field has become a fruitful ground for the representation and elaboration of narratives which attempt to reflect upon family relations. Among the diversity of motifs presented in those productions, the theme of decay has been a recurrent topic. In light of this, the present research aims at analyzing how the theme of the declining family is portrayed in William Faulkner’s Absalom, Absalom! (1936) and Autran Dourado’s The voices of the dead (1967) taking into account the influence on transgeracional transmission and the symbolic burden of the past over the Sutpen’s and the Honório Cota’s dynasty members. In order to reach the objective above, we seek to investigate the symbolic value of the father figure within the novels, focusing on his role in the constitution of the structure and formation of the family; to examine the relation among the family members as well as the transmission of behavior between ancestors and descendants; to analyze the role played by the family memory and the effects caused by the descendants’ compulsion to preserve their inheritance; and, lastly, to verify in what way the family memories are embodied in the spatial configuration, more precisely the house, as a mnemonic trace that keeps the presence of the dead and reflects the view of the past towards historical and social transformations. To this end, we based our analysis on the studies developed by Assmann (2011), Benjamin (2012; 2013), Candau (2011), Freud (1996), Penso, Costa and Ribeiro (2008). The results show that the transgeracional transmission and the burden of the past hold a remarkable negative power over the characters. Furthermore, it may be concluded that the decay which tears the families apart function as a metaphorical and metonymic representation that associate the rise and fall of both dynasties to the process of destruction and transformation of the societies described in the novels.
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Schetina, Catherine Ruth. "“It Made the Ladies into Ghosts”: The Male Hero's Journey and the Destruction of the Feminine in William Faulkner's Absalom, Absalom! and Toni Morrison's Song of Solomon." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/405.
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This thesis is a consideration of the intertextual relationship between William Faulkner's Absalom, Absalom! and Toni Morrison's Song of Solomon. It considers the objectification and destruction of women and female-coded men in the service of the male protagonist's journey to selfhood, with particular focus on the construction of race, gender, and class performances.
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Sigmund, Dana. "The Proud Galloping Image”: Sutpen, Wash, and the Gaze in Faulkner’s “Absalom, Absolom!”." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/726.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
Arts and Sciences
English Literature
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David, William M. "The Mythic Conquest of Time in Faulkner's Fiction." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1420.
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William Faulkner is famous for stating he agrees with Henri Bergson's optimistic philosophy of time, a philosophy that emphasizes human freedom and action precisely as they relate to time. However, many of Faulkner's characters are defined by their stagnant and lethargic personalities which cannot change; these characters are held immobile by an over – identification with the rich history of their mythic, southern past. This paper, through in depth explorations of Faulkner's masterpieces, Absalom, Absalom! and The Sound and The Fury seeks to consider human mythmaking as the key to understanding Faulkner's difficult works. This critical approach allows us to better understand these works as conflicts between diachronic (linear or "normal") time and synchronic time (mythological or circular) time or more simply conflicts between the brute, inexorable world of fact and the human, meaning making world that is often a specious undermining of reality and change.
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Gray, Jesse David González Espitia Juan Carlos. "Ariadne's thread unraveling the Archive in William Faulkners Absalom, Absalom! and Fernando Vallejos Mi hermano el alcalde /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,860.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Masters in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Page, Summerlin Leigh. "âStubborn Back-looking Ghostsâ: Mourning as a Control Mechanism in William Faulknerâs Absalom, Absalom! and The Unvanquished." NCSU, 2008. http://www.lib.ncsu.edu/theses/available/etd-03282008-150441/.
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In these two novels that involve the Civil War, Faulkner presents varying responses to loss. Rosa Coldfield of Absalom, Absalom! and The Unvanquishedâs Drusilla Hawk are women out of place in their society, without clearly defined roles. Both women attempt to gain control despite their lack of autonomy and refuse to accept their losses. Rosa Coldfield falls into a perpetual state of mourning, and Drusilla Hawk undertakes a series of actions in order to ignore her losses. Rosaâs grief consumes and infuriates her, and Drusillaâs coping mechanisms fail to help her come to terms with her fiancéâs death and her difficulties as a Southern woman who cannot live up to societal expectations. Drusillaâs failure to cope effectively with her losses is emphasized by her cousin Bayardâs ability to recover from the deaths of the two most important people in his life and create an existence without them. Bayardâs responses to loss exhibit how opportunities for mourning work and availability of new roles can help the grieving process be successful. Further, the womenâs use of mourning as a method of attempting to gain control over their lives and surroundings is especially significant in light of the memorial movement after the Civil War. In the post-bellum South, women were proponents of memorialization and commemoration; these activities were also used to keep the âLost Causeâ alive. Through Rosa Coldfield and Drusilla Hawk, Faulkner expresses how grief can cripple those who cannot move on to new roles or find new purposes in life after a significant loss.
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Rakii, Mohamed. "The genesis of character in three novels by william faulkner. La genese du personnage dans trois romans de william faulkner tandis que j'agonise. Le bruit et la fureur, absalon, absalon|." Nice, 1995. http://www.theses.fr/1995NICE2018.
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Notre analyse du personnage dans les trois romans de william faulkner tient compte de son double statut. Il est a la fois l'ensemble des signes linguistiques et une creature fictive, mais dotee d'une profondeur psychologique. La forme narrative est l'une des clefs fondamentales dans l'identification des personnages de faulkner. Un discours fragmente sous forme de monologues reste l'un des facteurs determinante du personnege faulknerien. Perversion, introversion et solitude constituent trois themes capitaux autour desquelles l'essence des personnages se forge et se cree. Le personnage central est a la fois le centre d(interet des differents narrateurs presents dans l'histoire et une entite illusoire qui echappe aux tentatives incessantes des narrateurs pour figer cette "realite" qui reste tant intangible. Le tragique, en outre, est un genre litteraire qui est a la base de l'ecriture de franlkner. La mort de thomas gutpen, la decadence des compsons et le sentiment des brundrens de la fertilite de l'existence sont des incidents narratifs qui placent l'ecriture de faulkner dans le registre tragiqueOur analysis of the concept of charactor, in faulkner's three novels (as y lay dying, the solind and the fury, absolom, absalom|), focuses on its double nature. It is viewed as a cluster of linguistic signs and at the same time as fictionnal creative, but endowed with a psychological depth. The narrative form of faulkner's novels is a fundamental key in the identification of his characters. A fragmented discourse, which consists of monologues and a profusion of narrators, is a basic attribute of the faulknerian character. Three main themes help shape the characters identity persersion, introversion ans isolation the major character in faulkner's fiction functions as the narrators' focal point and at the some lime plays the role of an evanescent subject, who resists to the nattators' never-ending attelmpts to fix and come le grips with "realitif" the tragic, as a literary mode, is a distinctive feature of fautkner's writing. The death of thomas sutpen, the compsons' decadence and the poundrens' awarerress of the futility of their existence are narrative incidents which give faulkener's writing a tragic imprint
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Dykstra, Dykerman Katelyn Jane. "“Sex was some forgotten atrophy”: Imagining intersex in Woolf’s Orlando and Faulkner’s Absalom, Absalom!" 2012. http://hdl.handle.net/1993/8474.
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This thesis considers the treatment of early twentieth-century intersex bodies in Virginia Woolf’s Orlando and William Faulkner’s Absalom, Absalom!. It takes into special account the prevalence of eugenic discourse during the modernist period, noticing eugenicists’ interest in categorical imperatives for the purposes of statistical analysis and surgical alteration. Their aims were human perfectibility. This thesis argues Orlando and Absalom, Absalom! imagine bodies existing, loving, and dreaming in between male and female, and outside of the violence of surgical “correction.”
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Page, Summerlin Leigh. ""Stubborn Back-looking Ghosts" mourning as a control mechanism in William Faulkner₂s Absalom, Absalom! and The Unvanquished /." 2008. http://www.lib.ncsu.edu/theses/available/etd-03282008-150441/unrestricted/etd.pdf.
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Santos-Neves, Miguel Edward. "Reconfiguring nation, race, and plantation culture in Freyre and Faulkner." 2012. http://hdl.handle.net/2152/22150.
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Gilberto Freyre's Casa-grande & senzala (1933) (The Masters and the Slaves) and William Faulkner's Absalom, Absalom! (1936) revisit and reevaluate Romantic notions of history, especially national progress and attendant accounts of racial purity and whiteness of "the people." The plantation home emerges in their texts as the common locus of historical and cultural experiences and as the principle symbol and metaphor for the domination of colonial forces. This dissertation explores how Freyre and Faulkner both take up the contemporary issue of miscegenation as the primary theme in their respective works. They elaborate this theme and explore its ramifications through the central, grounding image of the plantation home, which they approach through a historical sensibility and from a historical perspective. Freyre and Faulkner work from within paradigms from Europe to rewrite them, as they re-think the legacies of colonialism and of the plantation organization in non-national, non-ethnic, non-Hegelian, generative, deterministic terms. Their works seek to offer viable and independent counter-discourses to the dominant European cultural models -- new, non-nationalist narratives of historical destiny based on culture and economics rather than on any overarching political-historical destiny, as the epics of Europe's nations had been told in the era. This dissertation hopes to contribute to the scholarship that questions the essentialist notions of race and nation, as they were conceived on the plantation in rural regions of the New World. This project recovers a transnational tradition of political opposition -- a tradition that roots itself in the anthropology of experience rather than in the determinism of origin and inheritance. It will also argue for disciplinary realignments in the literature of the Americas, by proposing that further efforts be made to study the New World plantation and its effective geography. On the basis of the discussion on Faulkner, Southern literature ought to observe a new division between the Upper South and the Lower South, demarcated by the border between North and South Carolina, on the basis of the demographics, economics, and, in turn, self-understanding of these respective regions.text
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Yu-Sheng, Chen, and 陳育聖. "Historiography in William Faulkner’s Absalom, Absalom!" Thesis, 2005. http://ndltd.ncl.edu.tw/handle/86635450599329836518.
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碩士國立中興大學
外國語文學系
93
Absalom, Absalom! unfolds with multiple discourses, and each one of them may conflict with others in the process of recovering the Sutpen story. What is Faulkner’s intention of designing this operation is my primary inquiry. Modernity affects writers’ confidence in language; however, modernist writers still have to employ this imperfect tool to render the outside world. This dissertation aims to solve a problem, that is: how can we represent the world with the medium which has lost its functionality? If we advance this question, we will find more problems in the process of rendering the history. In historiography, how writers posit themselves, and what posture they take in their writing become so tricky that historians cannot claim their historical statements to be “true”. Therefore, how readers perceive the writing of history and its significance tend to be complicated. In this thesis, I attempt to introduce the concept of intransitive writing to cope with those problems incurred by the doubtful language, and hope that it can throw light on the predicament of the historiography.
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Yu-Yen, Wang, and 王宥妍. "Women and Nature in William Faulkner’s Absalom, Absalom!" Thesis, 2008. http://ndltd.ncl.edu.tw/handle/99028635960946178023.
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碩士輔仁大學
英國語文學系
96
This thesis attempts to interpret William Faulkner’s Absalom, Absalom! in terms of Ecofeminism to examine how the patriarchal society exercises power over women and nature and to investigate how the oppressed free themselves from a patriarchal system to rebel against the master model. I will argue that Faulkner challenges the traditional dualistic paradigm of thinking to uncover the subversive power of the oppressed and to break the dualistic distinctions by embracing the concept of diversity. This thesis consists of five chapters. Chapter One is the introduction in which I give a brief account of Faulkner’s Absalom, Absalom! and introduce ecofeminist concepts that I intend to apply in this thesis. My primary concern in Chapter Two is to examine the patriarchal model and its oppression on the disadvantaged groups in Absalom, Absalom!. By adopting Plumwood’s ecofeminist concepts of master model and dualism, I dissect Sutpen’s grand design to discover the patriarchal psyche and the dualistic world that he intends to construct and to pass on. Chapter Three concerns the subversive power of the oppressed. I apply the connection of women and nature to disclose the disruptive power that the oppressed possess. I uncover the anti-patriarchal reaction of the feminine group and present their subversive power in terms of natural motherhood and artistic creation. In Chapter Four, I investigate the multiplicity of Absalom, Absalom by focusing on the narrative styles and ethical analogies to present the anti-dualism that Faulkner constructs to dismantle the hierarchal dualistic thinking in the master model. The final chapter of this thesis is the conclusion.
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Chu, Ming-Hung, and 朱明鴻. "Narrative Techniques and Sutpen's Design in William Faulkner's Absalom, Absalom!" Thesis, 2001. http://ndltd.ncl.edu.tw/handle/6e2edd.
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碩士國立成功大學
外國語文學系碩博士班
90
An attempt is made to develop the idea of the nature of narrative. The central idea was inspired by William Faulkner’s experimental writing techniques which require the readers’ intelligence and knowledge base. Various narrators in Absalom, Absalom! present a variety of interpretations of Thomas Sutpen’s design. The ostensible construction of Sutpen’s design is concisely presented as a plantation with pure white lineage from father to son. One confusing scene to all the narrators, including Rosa Coldfield, Mr. Compson, Quentin Compson, and Shreve, is the killing of Charles Bon, Sutpen’s first son, by Henry Sutpen, his second son. Based on this murder scene, several possibilities for this killing are bigamy, incest, and miscegenation, in which the latest is the most reasonable. What lies behind the plot of avoiding miscegenation is Sutpen’s dignified and honorable ideal of creating a plantation in which people are equally treated. Also, the four main narrators are categorized into two types: one is the eyewitness narrator, such as Rosa Coldfield, and the other type is the non-eyewitness narrator, such as Mr. Compson, Quentin, and Shreve. Paradoxically, the most distant non-eyewitness is made the most imaginative and trustworthy narrator by William Faulkner.
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LI, JIAN-MEI, and 李健美. "Interplay between text and reader:a re-reading of William Faulkner's Absalom, Absalom!" Thesis, 1987. http://ndltd.ncl.edu.tw/handle/96404011815414518647.
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