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1
Navière, Marie-José. "William Faulkner scénariste, 1932-1945." Paris 4, 1991. http://www.theses.fr/1990PA040140.
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Entre 1932 et 1945 William Faulkner a travaillé comme scénariste à Hollywood, successivement à la MGM, aux studios Universal et 20th Century-Fox, et à la Warner bros. A sa totale liberté d'écrivain succédait un strict encadrement. Cependant la dépendance qui liait ses conceptions à de précis cahiers des charges n'a pas empêché l'écrivain de s'inspirer de ses œuvres. Cinq scenarios sont longuement détaillés et étudiés. Turn about, War birds, Country lawyer apparaissent issus des créations romanesques de Faulkner et appartiennent au cycle du Yoknapatawpha county. The de Gaulle story et Battle cry ont été écrits dans l'esprit de propagande de l'Amérique nouvellement en guerre. Ces scenarios portent néanmoins la pleine marque du sens que Faulkner entendait donner à son acte d'écriture. Scénariste un peu par obligation, l'écrivain a su ne pas se laisser submerger par la dépersonnalisation des talents de règle à Hollywood. En arrière-plan apparaitront la vie de Faulkner, la conception de ses romans l'organisation industrielle du cinéma, les règles de la composition filmique et de l'adaptationFrom 1932 to 1945, during the so-called Hollywood "golden age", William Faulkner worked as a screenwriter in four major studios: MGM, Universal, 20th Century-Fox and Warner bros. There, severe restrictions were imposed on his creativity. Whereas many talents were crushed by the requirements and the organization of the movie industry, William Faulkner managed to retain a great freedom of thought and inspiration. In many cases his scripts illuminate, extend and complicate the themes of his fiction. Turn about (1932) for example, is closely related to the sound and the fury. War bird (1932-1933) draws on two short stories and expands sartoris. Country lawyer is a family saga. All three therefore properly belong in the Yoknapatawpha couty cycle. The two other screenplays analyzed in details, the de Gaulle story (1942) and Battle cry (1943), are part of the considerable body of patriotic writing that Faulkner produced in support of the allied effort on World War II. They reveal the writer's rhetoric and philosophy as well as his craft as a screenwriter. This study not only sheds light on Faulkner’s concept of films but also shows his remarkable narrative art
2
Pettey, Homer Boyd. "Faulkner and fetishism." Diss., The University of Arizona, 1989. http://hdl.handle.net/10150/184671.
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This study compares fetishistic desires exhibited within Faulkner's fiction to the narrative strategies governing those texts. It surveys Faulkner's thematic and narrative experiments with fetishism from his first poems and sketches through his major novels. His early works, especially "Nympholepsy" and The Marble Faun, capture fetishistic moments of longing and lack of fulfillment, attraction and repulsion. Faulkner's novels, though, re-enact the dynamics of fetishism by means of their narrative strategies; thus, Faulkner achieves a correspondence between the fictional form and the fetish depicted. Because his texts engage us within their shifting temporality and symbolic repetitions, as readers we invariably fall prey to the fetishistic desires his narratives initiate and imitate. Interpretive problems necessarily arise concerning the reader's relationship to the text and desire for meaning. In As I Lay Dying, multiple points-of-view call our attention to the validity of interpretive perception; in Sanctuary, rape operates as Faulkner's master trope for both the characters' and reader's struggles for dominance; in Absalom, Absalom!, writing and reading history are obsessions shared by the narrators and the reader. My readings are informed by several interdisciplinary approaches to fetishism, such as: icon-worship and totemism from anthropology; object and linguistic substitutions from psychoanalysis; commodity exchange and reification from Marxist theories; and sign production and displacement from post-structuralism. Instead of imposing a general taxonomy for fetishism, I have allowed each text's narrative and thematic structures to guide my readings and, therefore, consciously matched my readings to the particular fetishes his narratives engender.
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Fessenden, William E. "Temporal structure and meaning : the defamiliarization of the reader in Faulkner's Go down, Moses." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/720324.
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This study of Faulkner's Go Down, Moses uses the reader-response theories of Wolfgang Iser to examine the affective impact of strategically-arranged folk conventions and mythopoeic devices upon a textually-based, white "civilized" reader. Using the devices of Southwestern humor, the trickster, and the tragic Black folk tale, "Was" through "Pantaloon in Black" repeatedly sidetrack the reader into unconscious participation in the white-code attitudes he was invited to criticize. When this hypocritical participation is discovered at certain "points of significance" in "The Fire and the Hearth" and "Pantaloon in Black," the reader's rationally-humanistic norms are rendered ineffectual, setting the stage for the undermining of a second idealism based on primitive myth. In "The Old People" and "The Bear" the reader is induced by mythopoeic devices to adopt Isaac McCaslin's unifying mythical norms and, thereby, to criticize his own failures in "Was" through "Pantaloon in Black" along with Southern civilization's socially-fragmenting rational-empiric concept of progress. "Delta Autumn," however, will undermine the reader's attempts to create moral unity using Isaac's natural hierarchy. With mythopoeic devices withdrawn, the wilderness destroyed by civilization, and Isaac McCaslin's reversion to white-code attitudes regarding Roth's Black/white offspring, the reader can see Isaac's experience in "The Bear" for what it really is, not an introduction into Sam Fathers's immutable cyclic unity but an initiation into fragmenting Cavalier forms and values. Once again the reader faces the hypocritical ineffectuality of his own idealism. For by emotionally and intellectually identifying with Isaac's misperception of the wilderness experience, he has aligned himself with socially-alienating rather than socially-unifying values. Now confronting the fragmentation dramatized in Isaac's terror-motivated racism and experienced in his own textual failures, the reader is ready for "the existential norm of "Go Down, Moses," where he is encouraged to construct meaning out of non-meaning by negating the "bad faith" of Gavin Stevens, who in fear chooses stable but racially-fragmenting Cavalier values, and by affirming the "good faith" of Molly Beauchamp and Miss Worsham, who choose the temporal unity of shared suffering in the face of chaos.Department of English
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Spill, Frédérique. "L'idiotie dans l'oeuvre de William Faulkner." Paris 3, 2006. http://www.theses.fr/2006PA030109.
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Cette thèse trouve son point d’impulsion dans le monologue de l’idiot Benjy Compson sur lequel s’ouvre The Sound and the Fury, roman de William Faulkner publié en 1929. Narré par un idiot muet et condamné à l’hébétude, ce monologue élabore un discours impossible. C’est dans ce discours, qui se construit sur le primat de la sensation et sur la prééminence des choses sur les idées, que s’échafaude une esthétique de l’idiotie. L’objet de cette thèse consiste à montrer comment le choix de placer un idiot au centre de la perception et à la source première de la narration de The Sound and the Fury peut être considéré comme le geste précurseur et emblématique de l’écriture faulknérienne. À travers des analyses détaillées de textes empruntés à l’ensemble du corpus faulknérien, le présent travail vise à démontrer combien le monologue de l’idiot Benjy Compson – considéré comme idiot archétypal – constitue un vaste champ d’expérimentation où tout objet est remodelé par le travail des sens : ainsi, le filtre de la perception de l’idiot donne-t-il naissance à un monde singulier et inédit. Cette thèse analyse la manière dont les figures corporelles, temporelles, sensorielles et narratives de l’idiotie se réfractent tout au long de l’œuvre de Faulkner, dans le sillage de ce texte inaugural. C’est à travers les formes d’une idiotie initiale et initiatique que l’écriture de Faulkner accède à sa spécificité. À l’origine de l’œuvre, l’idiotie organise d’un seul mouvement l’espace du monde et celui du langage faulknériensThe starting point of this thesis is the monologue of the idiot Benjy Compson, who is the initial narrator in Faulkner’s The Sound and the Fury (published in 1929). Told by a narrator who is both deaf and dumb and hopelessly condemned to stupor, this monologue is built upon an impossible discourse. Yet it is upon this paradoxical discourse, which rests on the pre-eminence of sensory perception, that Faulkner sets the foundation of a sophisticated aesthetics of idiocy. Indeed, the author’s choice to place an idiot at the centre of perception can be considered the inaugural and emblematic gesture of his writing. Through a detailed examination of excerpts selected from Faulkner’s novels and short stories, this thesis argues that the monologue of Benjy Compson – regarded as the archetypal idiot – is actually a vast experimental laboratory in which things and words are remodelled by the senses. The present study emphasises how the corporal, temporal, sensorial and narrative figures of idiocy are reflected throughout Faulkner’s work
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Wu, John Guo Qiang. "The Religious Dimensions of William Faulkner: An Inquiry into the Dichotomy of Puritanism." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278091/.
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"The Religious Dimensions of William Faulkner: An Inquiry into the Dichotomy of Puritanism" traces a secular mode of thinking of American moral superiority and the gospel of success to its religious origins. The study shows that while the basis for American moral superiority derives from the typological correspondence between sacred history and American experience, the gospel of success results from the Puritan preoccupation with work as a virtue instead of a necessity because labor improves one's lot in this world while securing salvation in the next. By explaining how Puritanism begins as a rejection of worldliness but ends as an orgy of materialism, my study raises and addresses the paradoxical nature of the Puritan legacy: Why should the Puritan work ethic, when subverted by its logical conclusion---the gospel of success, result in the undoing of Puritan spirituality in its mission of redeeming the Old World?
Furthermore, this inquiry examines the role Puritanism plays in creating the mythologies of America as the New World Garden, the white man as the American Adam, the black man as the American Ham, and the white woman as the American Eve. In the Puritan use of biblical typology, blacks and women function as the white men's servants and helpmates and, as such, have only adjunctive value to the white men's moral vision of the New Canaan and their economic pursuit of an earthly paradise. Since the racist and sexist discourse of Adamic self-creation predominates the American Dream, blacks and women become part of, rather than owner of, that dream. Basing my analysis on his three major novels, I demonstrate William Faulkner's penetrating insight into the dilemmas and ramifications of Puritanism in his critique of the American gospel of success in general and the Southern gospels of racism and sexism in particular. My conception of Puritanism in dichotomous tension, paradigmatically proposed as the American Adam turned Franklinesque self-made man, sheds new light on Faulkner's fictional characters as victims of the Puritan moral ambiguities.
6
Pothier, Jacques. "Faulkner, The Hamlet et la trilogie des Snopes : développement d'une problématique de la communauté." Paris 7, 1994. http://www.theses.fr/1994PA070010.
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Cette these reexamine une tradition critique qui a vu dans l'histoire des snopes une defense du sens americain de la "communaute". La premiere partie examine la genese des snopes, et d'abord le contexte ideologique et les influences. L'avant-texte (notamment la nouvelle inedite " as i lay dying", reproduite en annexe) presente des scenes matricielles, "archi-scenes" d'une autre signification latente, et developpe la confrontation de deux personnages, flem snopes et ratliff. Au cours de la composition de the hamlet, faulkner resout la "scene originaire sociale" qui, dans les romans des annees trente, s'inscrivait dans un "roman familial" de la communaute. La deuxieme partie de la these montre comment, avec la trilogie snopes, la communaute supplante l'individu au centre de la problematique. Dans le village de the hamlet sont juxtaposees les representations du lien social, correspondant a plusieurs styles. Ironiquement, c'est flem snopes, non ratliff, qui est le facteur unificateur de la communaute en introduisant l'"economie snopes". Dans the town et the mansion, faulkner met en scene la communaute de la ville, reductrice comme le sont les interpretations canoniques de son oeuvre comme mythe de l'amerique, en meme temps que sa fiction explore desesperement la possibilite d'une communaute " apocryphe", laissant place a la dignite de l'individuA reconsideration of the traditional view of the snopes trilogy as a defence of a southem sense of a reconsideration of the traditional view of thee snopes trilogy as a defence of as a defence of a southern sense of community. The first part deals with the early developments of the snopes project : it explores the ideological background and influences behind the idea of "snopes". The early drafts ( including the unpublished " as i lay dying" short, a transcription of which is provided in appendix ) introduce a few seminal scenes, pregnant with latent meaning, together with budding confrontation between flem snopes and ratliff. While laying out the hamlet, faulkner works through the " social primal scene " which had featured the issue of community in the context of the southern "family romance. " in the second part, the community is shown to have replaced the individual as a central concern in the trilogy. In the hamlet, the village is the space in wich several visions of the social bond, mirrored in several styles, are juxtaposed. Flem snopes, not ratliff provides the missing unity of the community by introducing the " snopes economy. " the story of the town and the mansion is set in the town-community which ignores the integrity of the individual, just like the community of readers is setting its own canonical reading of faulkner's word as myth. Ultimately, faulker seeks the possibility of an "apocryphal" community with would preserve the "idiocy" of the "common" man
7
Moulinoux, Nicole. "La Tradition gothique dans les romans de William Faulkner." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37616771g.
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Buisson, Françoise. "Faulkner nouvelliste : tradition et modernité." Bordeaux 3, 1997. http://www.theses.fr/1997BOR30070.
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Les nouvelles de william faulkner, qu'il considerait comme alimentaires, temoignent de son attachement aux traditions litteraires, en particulier aux conventions du genre, aux traditions realiste et orale. Mais il subvertit sournoisement ces traditions et les jeux avec l'intertexte montrent sa modernite qui envahit le texte faulknerien : la technique narrative, la representation de la vie interieure refletent le chaos de l'epoque moderne. De plus, l'oeuvre oscille entre l'informe et la densite formelle. Faulkner desire retrouver l'unite d'une oeuvre totale et les nouvelles forment des constellations autoreferentielles et intertextuelles. Revisant certains mythes, il veut faire de la fiction un nouveau cosmos et transcender le neant de la modernite. En fait, bien que les structures et le style de ses nouvelles experimentales soient modernes, la modernite historique, qui detruit la nature et reifie l'homme, est condamnee par le nouvelliste soumis a des contraintes economiques qui le conduisent a denoncer les dangers du materialisme et le poids de la culture de masse. L'evocation du sud antebellum traduit a la fois l'ironie et le conservatisme de faulkner qui deplore la faillite de la tradition chevaleresque et peuple son univers de nostalgiques. Heros et antiheros modernes errent dans un monde divise ou les femmes symbolisent souvent le mal. Mais faulkner, bien qu'obsede par la purete, souligne les exces de la tradition puritaine. Cet idealiste rejette le nihilisme caracteristique de la postmodernite et s'efforce de trouver un code adapte au monde moderne, fonde sur des valeurs traditionnelles heritees de la tradition chretienne et de la tradition des pionniersWilliam faulkner's short stories, which he regarded as pot-boilers, reveal his attachment to literary traditions, especially to the genre's conventions, to the realistic and oral traditions. Still, he deceitfully subverts these traditions and these plays with the intertext show his modernity. This modernity pervades the faulknerian text : the narrative technique, the representation of inner life mirror the chaos of modern times. Besides, the short fiction oscillates between shapelessness and formal compactness. Faulkner is yearning for the unity of a total work and his short stories constitute self-referential and intertextual constellations. By revising some myths, he wants to turn fiction into a new cosmos and to transcend the nothingness generated by modernity. In fact, although the structures and the style of his experimental short stories are definitely modern, historical modernity, which destroys nature and reifies men, is criticized by the writer. The latter is submitted to some economic constraints which lead him to denounce the dangers of materialism and mass culture. The description of the antebellum south is tinged with irony but also testifies to his conservatism, for he laments over the collapse of the chivalric tradition and a lot of characters feel nostalgic. Modern heroes and antiheroes wander in a divided world where woman often symbolizes evil. Yet, faulkner, though obsessed by purity, highlights the excesses of puritanism. Actually, this idealist rejects the nihilism that will characterize postmodernity and strives to find a code adapted to the modern world and based on the traditional values inherited from the christian and pioneer traditions
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Iflahen, Fatima Zohra. "La femme comme force vitale dans l'œuvre de William Faulkner." Paris 4, 1998. http://www.theses.fr/1997PA040044.
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Dans l'œuvre faulknérienne, la femme possède une présence dominante qui s'exprime par une autorité mentale, un bon sens et une imagination qui lui permettent de durer. Cette représentation, construction progressive et consciente de la part de l'auteur, dessine les contours d'une image fondatrice du moi et d'une philosophie de l'existence. De fait, l'expérience scripturale faulknérienne fait prétexte de la quête de la femme pour réinterpréter la condition humaine. Par son action au service de l'affirmation de la vie, par sa proximité de la nature et par son inscription de l'idéal dans la pratique, la femme faulknérienne apporte la parole d'une certaine vision du monde où la transgression de l'ordre établi, la souffrance au service du prochain ou le courage et l'endurance ne sont que les formes symboliques les plus significatives d'un regard franc, volontariste et sans détour sur le monde. A l'opposé, Faulkner campe son héros comme un être incapable d'assumer la corruption du monde car il tourne le dos à la vie et est sans cesse à la recherche d'une plénitude transcendantale qui le condamne à l'inertie, à l'isolement, à l'impuissance ou à la violenceWilliam Faulkner’s women characters have a dominating presence which is symbolized throughout the author's work by woman's moral authority, her imagination and her good sense. This image is, in fact, a conscious and progressive construction which draws the setting for a representation that founds the self and a certain philosophy of being: through its quest of the woman, Faulkner’s literary experience is actually a way of reassessing the human condition. Actually, woman's engagement in actions that affirm life, her respect of nature or her preference of acts instead of words, make her bring the word of a certain vision of the world where transgression, suffering in the sake of the other, courage or endurance are the most significant symbolical forms of a voluntary, frank and courageous attitudes toward living. The faulknerian hero, on the contrary, is condemned to isolation, impotence and violence because he is incapable of assuming the corruption of the world because he turns his back on life in search of a transcendental heaven
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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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Rivers, Patricia Ann. "The narrative poetics of William Faulkner : an analysis of form and meaning." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26757.
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Most critical acclaim of William Faulkner has focused on his innovations of narrative technique, and while critics have frequently noted the correlation between form and meaning in his novels, the central focus of these novels--race--has largely been ignored in the criticism. The purpose of this paper is to examine Faulkner's narrative methodology and arrangement of material in order to demonstrate that the structures of his novels, particularly Light in August and Absalom, Absalom!, consistently enhance and dramatize the major subject and themes of the novels. Under careful scrutiny, these structures reveal an effective and dramatic parallel between Faulkner's rhetorical methodology and the complexity of his subject matter--the South, and the issue of race.
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Wilson, Douglas 1965. "The ideology of despair : William Faulkner and the metaphysics of absence." Thesis, The University of Sydney, 1997. https://hdl.handle.net/2123/27635.
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Russell, Carole. "Into Faulkner through a concept of landscape." Thesis, University of Stirling, 1992. http://hdl.handle.net/1893/11844.
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This thesis examines eight novels by William Faulkner by means of a critical method based on a concept of landscape. The thesis developed out of a curiosity regarding the vivid pictures that Faulkner's novels evoked in the mind of this reader. These reminded the reader of pictures similar in their vividness to those evoked in childhood by fairy tales and children's literature. In the main, here, ` the vivid Faulknemian pictures are examined from a moral point of view. The critical method follows from the idea of the literary landscape as a holistic entity, 'a prospect such as may be taken in at a glance from one point of view'. The method operates in three stages, and the vivid pictures found in the landscapes of the novels are deemed to function as centres of particular interest. In the first stage of the method, an impressionistic landscape, so called, is established, based on the facts of place, time, society, events and values given in or deducible from the novel. The vivid pictures are noted. The second stage calls for the quantification of the author's technical strategies, and in the third stage the vivid pictures are adopted as the starting points for detailed analyses of one or more aspects of the novel. The method seems to bring into focus a mature, detailed and satisfying reader's landscape which, it is hoped, functions as an R accurate reflection of the author's literary creation.
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Césari, Florence. "La figuration du corps dans les romans de William Faulkner (1929-1948)." Paris 3, 1994. http://www.theses.fr/1994PA030102.
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Tire vers le chaos des origines, le corps faulknerien s'enlise dans l'indifferencie et toute figuration semble impossible car ce corps est sans contour. Bien sur on peut parfois tracer un cadre mais le contenu demeure intangible, fantomatique. Ce corps-fantome constitue cependant une surface blanche qui sert d'ecran a des projections imaginaires. Il demeure neanmoins difficile a circonscrire de facon fiable, car il est atopique, inassigniable a residence, ou bien evacue. Radicalement ou partiellement. C'est alors un corps humoral, digestif, sexuel, dont le texte s'attache a conjurer les vides par l'intermediaire de deperditions liquides permutables ou reversibles. Le corps faulknerien n'en est pas moins en perpetuelle instance de morcellement. Mais ce morcellement peut avoir une fonction constitutive, tout comme la metonymie, qui represente, avec la negation, la comparaison et la metaphore, une facon oblique de saisir le corps. Espace d'effractions et de detournements, le corps faulknerien est aussi le support d'impressions diverses et la source d'une parole perturbante, qui l'emporte et le traverse. C'est enfin un corps en mouvement, un corps ouvert, a plusieurs logiques et a entrees multiples, dont les elements entretiennent des relations instablesAs it is drawn back to original chaos, the faulknerian body is plagued by shapelessness and all attempt at outlining its figure seems to be doomed. Of course one may sometimes etch out a frame yet what is contained within remains intangible. Such a gostly body nevertheless amounts to a blank sheet, a surface which in turn serves as a screen on which imaginary projections can take shape. However, the faulknerian body remains elusive, difficult to circumscribe for it is without any topos of even made into a partial or total void. Then it is characterized only by bodily humours or digestive and sexual functions. But it is informed by a discourse which strives to make up for its blanck thanks to interchangeable or reversible losses. Yet the faulknerian body ever remains on the verge of sundering paradoxically enough, such sundering may prove constructive, just like metonymies, which appear, together with negations, comparisons and metaphors as so many possible oblique ways of apprehending the body. Characterized by intrusions and detour, the faulklnerian body is also a base for various impressions and a source of disturbing speech which carries it even as it pierces it through and through. Last of all, the faulknerian body is perpetually in motion, it is an open entity which has several types of logic and the components of which entertain instable relations
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Li, Ping 1947. "Freud and Lacan's psychoanalytic perspective and Faulkner's The sound and the fury." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60662.
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This thesis is concerned with Freud, Lacan and Faulkner's explorations of psychology and language, regarded as differential versions of common concerns. In the first part, using aspects of the Freudian concept of the unconscious, and reading Faulkner's stream-of-consciousness narrative in The Sound and the Fury, we find that Faulkner seeks to convey the flow of the unconscious. In the second part, we see that Lacan reads Freud through Saussure's linguistics, and renews Freudian psychoanalysis with the Lacanian concept of an unconscious structured like a language. Beyond Freud, with reference to these Lacanian notions, we find that Faulkner produces a narrative structured like a language. In the third part, through the application of Lacanian theories of narration to literary theories, and through a Barthes-inspired comparison of Faulkner's novel with Lu Xun's short story "A Madman's Diary", we see that while Lu Xun gives his readers a world of meaning, Faulkner shows them the world of the word without any meaning by creating a new narrative strategy.
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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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Augustin, Guillaume. "La tragédie dans les romans de William Faulkner et de Julien Green." Paris 3, 2007. http://www.theses.fr/2007PA030031.
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William Faulkner et Julien Green, bien qu’ils aient écrit dans deux langues différentes, possèdent une œuvre dans laquelle on constate de nombreuses similitudes. L’étude comparée de ces deux auteurs est surtout l’occasion de s’interroger sur la notion de tragédie. En effet, leurs romans présentent tous les symptômes du genre tragique. Le but de notre ouvrage est d’éclairer d’un nouveau jour le roman de l’entre-deux-guerres, en fouillant les caractéristiques de la tragédie telle qu’elle se manifeste dans le corpus étudié. Ainsi, les romans greeniens et faulknériens nous proposent un vaste système littéraire, qui prend part aux interrogations philosophiques, sociales, religieuses de leur tempsWilliam Faulkner and Julien Green, yet they wrote in two different languages, possess a work that presents many similarities. Above all, the comparative study of these two authors is the occasion of questioning the notion of tragedy. As a matter of fact, their novels show all the symptoms of the tragic kind. The purpose of our thesis is to cast a new light on the interwar years’novels, scanning the characteristics of tragedy, as it appears in the present corpus. Thus, greenian and faulknerian novels set a compound literary system, which takes part to the philosophical, social, religious questionings of their time
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Bunnell, Phyllis Ann. "The Elusive Mother in William Faulkner's Major Yoknapatawpha Families." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278284/.
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Families in much of William Faulkner's Yoknapatawpha fiction are built upon traditional patriarchal structure with the father as head and provider and the mother or mother figure in charge of keeping the home and raising the children. Even though the roles appear to be clearly defined and observed, the families decline and disintegrate.
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Stankiewicz, Waclaw Pascal. "Médiations narratives : actualisation et métamorphoses du réel et de l'écriturre dans "Sartoris" de William Faulkner : genèse et traductions." Paris 4, 2006. http://www.theses.fr/2006PA040115.
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Si le problème de la fiction romanesque pouvait tenir en une seule proposition, ce serait certainement la première de Sartoris de William Faulkner : on pourrait parler d’une « hyper-déixis » et d’un « plus-que-présent » (ou d’un « passé du présent ») pour un roman phénoménologique avant la lettre. À partir de la désormais ancienne opposition benvenistienne « histoire / discours » et des realia textuels, il est possible aujourd’hui, en narratologie, de considérer que la déixis est la « dominante » structurelle du texte de fiction romanesque (T f), analysé dans les différents niveaux de sa médiation : actes d’assertion et de narration, fondements sémantico-référentiels (présupposition et feinte) dans un cadre pragmatique, définissant lui-même des sous-cadres d’analyse ressortissant à l’énonciation : la temporalité, la chronologie, le chronotope du héros agissant, la séquentialité, l’« objectivité », la monstration, les indexicaux, les déictiques et l’anaphore sans antécédent, la valeur des auxiliaires de la référence en emploi discursif et dans le cadre de la voix et du point de vue narratifs. Tout cela intra-narrationem d’un texte dont la « conscience » nous intéresse, faite qu’elle est de la mouvance que provoque la complexité du jeu instanciel en situation narrative, ainsi que les différents degrés de la métamorphose dans l’écriture. En somme, Sartoris et les premiers romans de Faulkner révèlent la déixis narrative à elle-même et à la littérature occidentale, - de ses origines à nos jours, dans ses influences américaines comme dans son héritage linguistique au XXe siècle, - dont l’Histoire requiert en plus une méthode d’approche contrastive des langues anglaise, française et même polonaiseIf the problem of fiction could be concentrated into only one proposition, it would certainly be the first of William Faulkner’s Sartoris : we could speak of a “hyper-deixis” and a “plupresent” (or a “past present”) for a phenomenological novel before the final stage. With reference to the already old Benveniste’s opposition “story / discourse” and to textual realities, narratology should consider nowadays that deixis is the structural chief characteristic of the fictional text, analysed in its different levels of mediation : assertive and narrative acts, semantic and referential foundations (presupposition and make believe) of the whole pragmatic framework linked to enunciation : temporality, chronology, acting hero’s “chronotope”, sequentiality, “objectivity”, showing, indexicals and deictics, anaphora without any antecedent, values of the reference’s articles in discursive usage and in the context of narrative voice and point of view. All those things remaining intra-narrationem of a text whose “conscience” does interest, made as it is of the kind of moving form provided by the very complexity of the instancial set put into narrative situations and by the different degrees of the metamorphosis in writing. On the whole, Sartoris and Faulkner’s first novels reveal narrative deixis both to itself and to western literature, - from start to nowadays, as well in the American influences as in the linguistic heritage of the twentieth century, - whose History needs also a methodical and contrastive approach of English, French and even Polish tongues
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Latour-Lefort, Danielle. "Le mythe d'Evangéline revisité par William Faulkner et Antonine Maillet." Bordeaux 3, 2003. http://www.theses.fr/2003BOR30015.
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S'inspirant de la déportation des Acadiens en 1755, Henry W. Longfellow publia en 1847 le poème "Evangeline". Son succès en fit un véritable mythe et l'héroʺine devint le symbole de l'Acadie. Le mythe ensemença la littérture du XIXe et eut un avatar dans le personnage de la petite Eva de "Uncle Tom's Cabin" (H. Beecher-Stowe, 1852). Il resurgit au XXe siècle dans les oeuvres du romancier sudiste W. Faulkner et de l'Acadienne A. Maillet. Tous deux s'interrogent sur les relations du mythe avec la réalité et concluent que l'héroʺine romantique et puritaine ne convient pas à la représentation de l'Acadie. Parti du mythe d'Evangéline qu'il considère sous tous ses aspects, Faulkner aboutit à une réflexion sur les mythes en général et à leur impact sur l'imaginaire d'une communauté. A. Maillet consacre son oeuvre à la démythification et à la remythification de son peuple. Empruntant certaines structures littéraires à Faulkner, elle crée une nouvelle Acadie diégétique qu'elle oppose à celle de LongfellowDrawing his inspiration from the deportation of the Acadians in 1755, Henry W. Longfellow wrote a poem entitled "Evangeline" in 1847. Its success turned into a myth and its heroine became the symbol of Acadia. The myth resurfaces in works of 19th century literature includind its incarnation in the character of Eva in H. Beecher Stawe's "Uncle Tom's Cabin" (1852). It reappeared in the 20th century in the fiction of the Southern novelist W. Faulkner and the Acadian writer A. Maillet who both probethe relationship between the myth and the Acadian reality and conclude that the romantic and puritanical heroine is not suitable symbol for Acadia. Faulkner examines all aspects of the myth and his reflection leads him to coclusions about myths in general and their effect on group' collective imagination. A Maillet's fiction is entirely devoted to the de-mythifying her people. Using Faulkner selectively as a model she creates a new fictional Acadia that she pits against that of longfellow
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Heck, Lisa Renee. "Vardaman Bundren and Sartoris Snopes: An Unlikely Brotherhood." Xavier University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1352494838.
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Fortier, Jean-Michel. "Le chasseur inconnu : suivi de Enjeux et effets de la narration au nous dans Une rose pour Emily de William Faulkner." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29944/29944.pdf.
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Le projet de création Le chasseur inconnu est un roman dont la narration problématique – au nous – constitue la principale particularité. Campé dans un village non identifié dont les habitants se réunissent chaque semaine pour débattre de leurs problèmes et pour potiner, ce texte de fiction se déploie grâce aux voix de narrateurs mystérieux et à leur ton parfois aux limites de l’absurde. L’essai réflexif qui suit le roman propose une étude des enjeux et des effets de la narration au nous dans la nouvelle Une rose pour Emily de William Faulkner.The novel Le chasseur inconnu’s most defining characteristic is its narration ; an unnatural we narration. The story takes place in an unknown town where villagers meet every week to discuss their problems and to gossip. As the plot unfolds, the mysterious narrators and their absurd voices become increasingly important and stress the narrative peculiarity of the novel. The essay following Le chasseur inconnu offers a study of we narration in William Faulkner’s short story A Rose for Emily.
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Tribak, Nabila. "L' argent, masques et métaphores et l'identité américaine dans Go Down, Moses de William Faulkner." Paris 8, 2000. http://www.theses.fr/2000PA081863.
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@Ce travail examine la figure fluide de l'argent. Mais l'argent n'est pas le seul enjeu. L'autre défi est celui de la construction de l'identité américaine où l'argent émerge comme la composante la plus essentielle. Traquer la figure insaisissable de l'argent a permis d'en dévoiler les multiples masques. Ainsi, au-delà du problème racial, d'injustice sociale ou économique quest l'esclavage, le Noir apparaît comme un capital à faire fructifier. Le sang devient à son tour une monnaie symbolique léguée en même temps que l'héritage paternel. Le verbe aussi est une monnaie qui engendre "des petits". . .
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Zimmermann, David H. (David Howard). "Myths, Hierophanies, and Sacraments in William Faulkner's Yoknapatawpha Fiction." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277821/.
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Critical reactions to the religious experiences contained in William Faulkner's fiction have tended to fall within the context of traditional Christian belief systems. In most instances, the characters' beliefs have been judged by the tenets of belief systems or religions that are not necessarily those on which the characters base their lives. There has been no effort to understand the characters' spirituality as the basis of an independent religious belief system. Mircea Eliade's methods and models in the study of comparative religion, in particular his explanation of the interaction of the sacred and the profane during a hierophany (the manifestation of the sacred), can be applied to the belief systems of Faulkner's characters to reveal the theologies of the characters' religions, the nature of the belief systems on which they base their lives. Identification of those stories associated with hierophanies in Faulkner's Yoknapatawpha fiction enables the isolation and analysis of the sacred stories and sacraments of Yoknapatawpha County's civil religion. The storytellings examined appear in Flags in the Dust, "A Justice," and Absalom, Absalom!. The storytellers and the audiences are all a part of the Yoknapatawpha community, and the stories are drawn from a common history. The sacralization and use of particular stories to explain certain events reflects the faith life of the community as a whole, as well as that of the individual participating in the ritual. The explication of the profane experiences the myths are meant to sanctify will reveal that the individuals, and consequently, the community, are in the process of discarding their old, civil religion. As a result, they have lost the ability to adapt their ancestral myths to fit the existential crises they presently face. Unable to infuse the present with the sacred, Yoknapatawpha1s younger generation is overwhelmed by the chaos that surrounds it.
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Wright, Kenneth Patrick. "The Law and Its Enforcers in Faulkner's Trilogy." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501260/.
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This thesis evaluates how effectively the trilogy's laws and law enforcers further the ends of the fictional laws. The study examines the trilogy's law enforcers' responses to Snopes violations and bendings of the laws to evaluate the laws and their enforcers. The enforcers' responses to Snopes wrongs make clear how well the laws are written. These responses also reveal how well the enforcers themselves are able to achieve the objectives of the laws. It is argued in the thesis that although the laws are effectively written, the law enforcers fail to enforce the laws and, consequently, fail to achieve the laws' ends. It is also shown that the enforcers invariably harm innocent persons when they fail to enforce the law.
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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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Amoretti, Julien. "Le souffle et la glaise : logique de l'image dans l'oeuvre de William Faulkner (1919-1942)." Paris 7, 2007. http://www.theses.fr/2007PA070040.
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Cette étude a pour objet l'imaginaire faulknérien considéré comme une langue. A partir des outils mis au point par la critique structuraliste et formaliste, ce travail tente d'en décrire le vocabulaire et la syntaxe afin de définir la logique qui organise la co-présence de diverses images au sein de séquences textuelles spécifiques et détermine leur devenir au cours du récit. L'objectif est en particulier de dégager une forme signifiante minimale, à la fois descriptive et narrative, à partir de laquelle l'univers imaginaire faulknérien se déploie par un jeu complexe de reformulations et de variations. Pour ce faire, cette étude explore de manière systématique les images qui caractérisent la poésie et la fiction faulknérienne entre 1919 et 1942, qu'il s'agisse de personnages (mère, amant, père, doubles divers), de décors (sanctuaire pastoral, ruine, fleuve, forêt vierge notamment) ou de types de récits (poursuite amoureuse, fuite, affrontement, construction d'un monument, entre autres) afin de comprendre les relations qu'elles entretiennent et la manière dont elles permettent l'élaboration du sensThe topic of this study is Faulkner's imagery, considered as a specific language. Using concepts derived from structuralist and formalist criticism, this essay attempts to describe the vocabulary and syntax that characterize Faulkner's imagery, in order to determine the rules that explain the co-presence of some of these images within a specific textual unit and how they evolve as the narrative develops. The analysis focuses on defining a seminal signifying unit, both descriptive and narrative, out of which Faulkner's imagery unfolds through a complex network of reformulations and variations. Systematic textual study allows us to explore the various images that recur in Faulkner's poetry and fiction from 1919 to 1942: characters (mother and father images, lovers, doubling figures), settings (pastoral landscapes, ruins, rivers, the wilderness, etc. ) but also types of narratives (love quests, flight situations, confrontations, monument building, etc. ). The purpose of this analysis is to shed light on the relations that connect Faulkner's images and how these help create meaning in the text
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Sautter, Sabine. "Irrationality and the development of subjectivity in major novels by William Faulkner, Hermann Broch, and Virginia Woolf." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ55379.pdf.
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Azerad, Hugues. "Un univers constelle : presence et confluences de marcel proust et de james joyce dans l'oeuvre de william faulkner." Paris 4, 1998. http://www.theses.fr/1997PA040284.
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Notre etude porte sur les rapports etroits qui unissent les univers imaginaires de ces trois ecrivains. Nous voulons eclairer l'oeuvre de faulkner a travers le prisme de proust et de joyce. Nous faisons reagir entre eux ces auteurs afin d'en degager une thematique qui puisse transcender les frontieres culturelles, et les ambitions artistiques. Nous analysons les composantes modernistes et les affinites qui ont cree un terrain de reception aussi fertile chez le conteur du sud. Ces themes modernistes nous amenent a une analyse de la conception du temps chez joyce, proust et faulkner, a travers la problematique suivante : le roman semble pris a ce piege : soit evacuer le temps en le faisant eclater, soit au contraire ceder a la fascination pour un passe edenique. Nous comparons l'attitude envers le temps des personnages prisonniers du temps subjectif, et des prisonniers du temps objectif. Nous analysons ensuite le phenomene que semble subir le roman moderne, celui de la spatialisation du temps. L'impasse semble totale, l'ecrivain ne peut pas abolir directement le temps, mais il peut, par les moyens techniques communs au cinema, la juxtaposition, la simultaneite et le montage, arriver a faire se coaguler le temps dans la dimension de l'espace. Proust, joyce et faulkner possedent selon nous une meme poetique de l'espace, qui tourne vite au desastre : l'espace litteraire est autant destructeur que le temps. De quelle nature est cet espace, qui, exterieur ou interieur, semble imposer une loi de pesanteur aussi ecrasante et sterilisante que celle du temps? nous explorons le stylede faulkner nourri des apports de proust et de joyce, pour arriver a une evaluation de la veritable nature de la metaphore, comme trope doue en plein coeur de la modernite, d'une aura regeneree dans laquelle le temps et l'espace parviendraient a fusionner. Nous terminons sur la face cachee du langage litteraire, qui pretend trouver le salut exactement la ou il doit le perdreThe aim of my study is to analyse the work of william faulkner through the prism of the double influence of james joyce and marcel proust. I have tried to analyse the components of faulkner's modernism by comparing them with the innovations brought about by proust and joyce. These themes are shared by the three authors so that the normal influence of the two earlier masters could be digested into confluence : the moment when faulkner started to build a cosmos of his own from his native imagination, using and distorting stylistic instruments which belonged to a european culture. The main line of my argument is that faulkner staged the natural conflicts which arise between the novel, time, space and its own language. Faulkner arrives at the same conclusion as proust in time regained : that time is a negative force as long as it is bound to the past and thus viewed in an edenic light. If time is the enemy, it cannot be excluded from the novel's own framework of which it forms an intrinsic and vital part. In faulkner, as in proust and joyce, time is abolished when fully accepted: when the longing to recapture it has ceased. I analyse the ways in which time is perceived by characters: from the prisoners of internal time to the prisoners of objective time. I then switch to the important concept of the spatialization of time which follows the attempt made by the three writers to exclude time, to shatter it. I finish with the exploration of the literary space of the three universes, which orbit the same clusters of images of modernity and archaicisms. By concentrating on the poetical means used to render literary space: i clarify which trope will produce art out of the traps of time and space. My conclusion focuses on metaphor as a way of fusing time and space, thus creating a universe within a universe, in which abstract feelings, divested of their fetters, could be fully lived, that is, fully expressed
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Ferreira, Francisco. "De Godard à Faulkner : l'hypothèse scripturale." Poitiers, 2009. http://www.theses.fr/2009POIT5029.
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Jean-Luc Godard n'a jamais adapté aucune œuvre de William Faulkner. Et si l'un se prête facilement à la métaphore du cinéaste-écrivain, tandis que l'autre peut apparaître, en raison de son activité hollywoodienne, comme un auteur inspiré par le cinéma, notre recherche repose, quant à elle, sur l'hypothèse d'une relation entre les deux arts qui ne pourrait être pleinement saisie, ni dans la perspective de l'adaptation, ni dans celle de l'influence, ni dans celle de la confluence entre les œuvres. Il ne s'agit pas non plus de les interroger sous l'angle de la comparaison du récit écrit et du récit filmique, et moins encore de supposer une équivalence entre leurs techniques respectives. Ce que nous appelons l'hypothèse scripturale ne relève donc pas de la découverte d'un lien préexistant entre les textes et les films, mais de la construction a posteriori d'une relation entre eux, dans une perspective derridienne où la notion d'écriture, hors de sa seule dimension langagière, ne se comprend pas seulement comme un phénomène interne au texte ou au film, mais comme le nom même que l'on pourrait donner à leur rencontre. Notre démarche consiste ainsi à identifier dans les films les traces des textes qu'on entend leur appliquer pour, à travers un mouvement rétrospectif, interroger à leur tour les textes en question à la lumière des films. On a donc bien lu le titre de cette thèse : il s'agit d'aller de Godard à Faulkner, et non l'inverse, en créant les outils méthodologiques nécessaires à la confrontation de fragments filmiques avec des fragments littéraires, de sorte que puisse se dégager, au cœur du processus de réécriture, le geste de désécriture dans lequel il s'origineGodard has never adapted any of William Faulkner's works. And if the one readily tends to the metaphor of the filmmaker-writer, whereas the other might appear to be, on account of his Hollywood activities, an author inspired by the cinema, our research meanwhile postulates a relationship between the two art-forms which could not be fully apprehended either from the perspective of adaptation, or that of influence, nor yet that of a convergence between their works. Nor is it a matter of scrutinising them from the point of view of a comparison between written and cinematographical narration, even less to suppose an equivalence between their respective techniques. What we call the scriptural hypothesis does not derive from the discovery of a pre-existing bound between the texts and the films, but from the a posteriori construction of a relationship between them, from a derridian perspective where the notion of writing, beyond its merely linguistic dimension, is to be understood not only as an internal phenomenon within the text or the film themselves, but as the name itself which might be ascribed to their meeting. Our method thus consists in identifying in the films the traces of the texts which we intend to apply to them, in order to then question retroactively those texts in the light of the films. The title of this thesis is thereby justified : it is indeed a matter of proceeding from Godard to Faulkner, and not vice-versa, by creating the methodological tools necessary to the confrontation of fragments of film with literary fragments, in such a manner that, at the heart of the very process or rewriting, we might uncover the gesture of unwriting in which it originates
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Eyrolles, Stéphanie. "Explorer la faille : Identité et narration dans l'œuvre de William Faulkner." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV079/document.
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Ce travail présente la manière dont William Faulkner réfléchit la fonction identitaire de la narration dans plusieurs de ses romans : The Sound and the Fury, As I lay Dying, Light in August, Absalom, Absalom! et Requiem for a Nun. L’appartenance des personnages du corpus au Sud des États-Unis exacerbe leur faille constitutive, qu’ils cherchent alors à compenser par la médiation du récit. Cette thèse étudie, à travers le prisme de la théorie de la mimèsis de Paul Ricœur, comment ces personnages configurent leur temps vécu et se projettent mimétiquement dans leur récit afin de procéder à une herméneutique de soi et atteindre ainsi l’appropriation de soi qu’ils recherchent. Cependant, les narrateurs sont tous saisis d’un élan déconstructeur qui met en lumière l’irrésolution du langage grâce auquel ils essayent de se créer une identité de substitution. Ils prennent alors conscience que le langage se dissémine et que la présence qu’ils tentent de faire advenir se dérobe dès qu’elle apparaîtThis dissertation studies the issue of identity in several of William Faulkner’s novels (The Sound and the Fury, As I Lay Dying, Light in August, Absalom, Absalom! and Requiem for a Nun) and how characters attempt to retrieve a sense of self through narration. The characters’ belonging to the American South exacerbates their inner gap, which they then try to fill thanks to their story-telling. This study examines, through the prism of Ricoeur’s theory of mimesis, how these characters configure their world of action and project themselves mimetically into their narratives so as to achieve self-understanding through a hermeneutical process. However, the narrators under study are overwhelmed with a deconstructive impetus which sheds light on the indecisiveness of the language thanks to which they are trying to create a substitute identity. They thus become aware that language disseminates itself and that the presence they are attempting to create gives way as soon as it appears
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Mariano, Fábio Roberto 1989. "Faulkner na França : uma análise dos prefácios escritos às traduções dos livros de William Faulkner publicadas na França nos anos 30." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269954.
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Orientador: Eric Mitchell SabinsonDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O objetivo deste trabalho é compreender a recepção de Faulkner na França a partir de uma contextualização da literatura francesa nos anos 1930 e da leitura detalhada dos referidos prefácios. O que está em primeiro plano não é uma leitura crítica do autor, e sim uma organização de leituras críticas anteriores. Ao fim do texto, é esboçada uma proposição acerca do apelo específico que Faulkner teve na França. Dos seis livros de Faulkner publicados durante os anos 30, cinco trazem prefácios. Esses textos são de autoria de figuras de grande influência no ambiente literário francês: os tradutores Maurice-Edgar Coindreau e René-Noël Raimbault, o crítico e escritor Valery Larbaud e o escritor, político e jornalista André Malraux. A partir das leituras propostas nesses prefácios, é possível tentar estabelecer uma relação entre o ambiente cultural da França e a obra de William Faulkner. Para estabelecer tal relação, este trabalho se divide em três partes, cada qual correspondendo a um de seus capítulos. Em primeiro lugar, faz-se uma análise do ambiente histórico e literário da França. Em segundo, uma leitura atenta dos prefácios é feita, levando-se em consideração também quem são seus autores. Por fim, o terceiro capítulo é um movimento de interpretação dos prefácios à luz da análise feita no primeiro capítulo
Abstract: The present dissertation aims at an understanding of the reader response to Faulkner in France. It is based both on a study of the mentioned prefaces and on an attempt to describe the literary and critical standards of the time. The main point here is not exactly a critical reading of the author's work in itself, but an effort of organizing earlier readings. This study is closed by a hypothesis about Faulkner's specific appeal to French readers. Five out of the six of Faulkner's books published during that time are prefaced, all of them by Frenchmen: translators Maurice-Edgar Coindreau and René-Noël Raimbault, literary critic and writer Valery Larbaud and politician, journalist and novelist André Malraux. A detailed analysis of these prefaces may be an effective strategy to establish a connection between Faulkner's work and the French cultural environment in which he is read. In order to effectively make such a connection, this dissertation has been divided in three parts, each of which corresponds to one of its chapters. In the first one, the literary and historical context of France is analyzed. In the second, a close reading of each of the prefaces is made, taking into account not only their words and references, but also their authors. In the third and last chapter, the prefaces are interpreted according to what had been exposed in the first chapter
Mestrado
Historia e Historiografia Literaria
Mestre em Teoria e História Literária
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Klaassen, Burdiles Francisca Andrea. "The girl in the muddied drawers : a symbol of absence and the uncontrollable forces." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/110896.
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Tesis para optar al grado de Licenciada en Lengua y Literatura InglesaFacultad de Filosofía y Humanidades
Faulkner’s fiction is pregnant with the uncontrollable forces phenomenon. These forces override human volition and prediction. In The Sound and the Fury the most important expression of these forces is Caddy as a symbol of female sexuality. In this thesis I explore how characters view this phenomenon. These phenomenon is investigated by using Ricoeur’s hermeneutical literary approach
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Flores, Rojas Paulina. "La culpa como elemento constitutivo de la experiencia trágica en Réquiem para una mujer." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/111052.
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Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura HispánicaFacultad de Filosofía y Humanidades
Me gustaría compartir, a modo de introducción, el proceso por el cual llegué a mi propuesta de tesina. El punto de partida es el seminario de Recepción de tragedia contemporánea, en el cual se enmarca todo este trabajo. El seminario tenía como objetivo el análisis de la recepción de la tragedia griega y la tragedia isabelina en el teatro contemporáneo, considerando las dos posibilidades de actualización del género: la recepción creativa de argumentos de tragedias en obras dramática y la recepción creativa de las propiedades del género en la escritura de nuevas tragedias. Comencé con una intuición y un impulso basado únicamente en obsesiones personales: William Faulkner. El primer intento fue desde Luz de Agosto, la conocida novela que tanta locura y horror había causado a André Gide. Sin embargo estaba el problema del género. Como antes señalé el curso se abocaba al estudio de obras dramáticas. Luego apareció la adaptación para el teatro que Albert Camus había hecho de Réquiem para una mujer1 de Faulkner. Y cuando finalmente tuve las dos obras en mis manos, la original, la de Faulkner, exhibió toda su complejidad. Se trataba de un hibrido que conjugaba características discursivas y formales predominantemente narrativas con elementos asociados a lo dramático. Con Réquiem para una mujer podía amoldarme a las exigencias del curso sin dejar de lado los caprichos
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Georgopoulou, Panagiota. "Le statut politique de la science et de la technique : la question de leur neutralité politique dans les démocraties occidentales." Paris 8, 2000. http://www.theses.fr/2000PA081848.
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L' @objectif principal de cette recherche est d'intégrer la techno-science dans la pensée et le jeu politique. Dans ce cadre, deux questions marquent les grandes lignes de notre approche. La première concerne la construction moderne et la déconstruction post-moderne de l'image asociale, objective et universelle de la techno-science. La deuxième envisage l'articulation de la techno-science avec la société sans tomber dans un réductionisme de l'une ou de l'autre. . .
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Clissold, Bradley. "Recovering the common sense of high modernism : embodied cognition and the novels of Joyce, Faulkner, and Woolf." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36895.
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This thesis argues that the popular characterization of high modernist fiction as esoteric, elitist, uncommunicative, and far too difficult for the common reader obscures the democratic principles at the heart of modernist experimentation and its poetics of difficulty. Recent theories of embodied cognition when applied to representative examples of high modernist novels help dispel the myth of inaccessibility and reveal the many ways in which these works actually accommodate the common reader. Once the stigma of inaccessibility is removed from the study of modernist novels, it becomes possible to see how their formal experiments with language as well as the themes and issues they contain operate for readers and writers alike as a means of exploring everyday cognitive activities and responses. To this end, the concept of cognitive dissonance provides a heuristic device for understanding what lies behind the motivations of writers who aestheticise experiences of dissonance in their texts and the responses of readers who confront these texts. This cognitive approach to modern literature challenges assumptions about high modernism's "uncompromising intellectuality" and replaces them with a view of modernism that is more accessible and inclusive without diminishing its radical difficulty. It also paves the way for new readings of highly canonical modernist fiction. For instance, I examine how James Joyce places "inscribed" readers into Ulysses to guide actual readers through some of the difficulties of the novel. I then read William Faulkner's The Sound and the Fury as a novel that both thematises and formally resists the modern threat of behaviouristic human conditioning. Finally, I look at how the theme and form of Virginia Woolf's Mrs. Dalloway reinforce the embodied equation of dissonance with illness and incompletion.
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Brantley, Jennifer Susan. "Ruby." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9824.
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Medjoudj, Mohammed Saïd. "Instants dialogiques et dynamique figurale : une approche de la communauté chez William Faulkner." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040208.
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Cette thèse propose une approche de la communauté dans l’œuvre de William Faulkner éclairée notamment par la notion bakhtinienne de dialogisme et de la réflexion contemporaine sur le figural. La communauté chez Faulkner s’avère une présence d’autant plus marquante qu’elle n’existe pas comme objet mais comme effet de discours au niveau de la diégèse comme au niveau du texte. Il s’agit d’abord d’examiner comment au cœur de la démarche faulknérienne l’écriture procède à une réinvention de la communauté. En un second temps la thèse explore les diverses stratégies grâce auxquelles le texte faulknérien se fait le lieu d’une élaboration avec le lecteur produisant une communauté esthétique exigeante. Les lectures de l’espace romanesques montrent ensuite les rapports étroits existant entre l’espace du texte et l’espace représenté et mettent à jour des jeux de mise en abyme qui, du reste, rendent difficile, voire impossible toute distinction entre l’un et l’autre. Enfin le corps est examiné comme enjeu d’inscription idéologique. La thèse met en lumière deux stratégies de représentation différentes, correspondant à deux types de rapport au langageThis thesis addresses the issue of community in William Faulkner’s work in the light of Bakhtine’s theory of dialogism and of the contemporary reflection on the figural. In Faulkner’s work the community is all the more prominent as it does not exist as an object but as a discursive effect on the level of diegesis and on the level of the text. Our thesis first examines the place of community in relation to the ways in which Faulkner conceives his writing project, and to the creation of a « cosmos of his own ». Then it investigates the various strategies which define the Faulknerian text as the locus of a collaboration with the reader resulting in an esthetic community. The third section explores the space of the novel and shows the close relationship between diegetic (or passive) and textual (active) spaces. Eventually the issue of the body as a basic for ideological inscription is examined, and the thesis identifies two distinct strategies of representation related to two ways of approaching language
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Michel, Christian. "Pensée analogique et poétique du roman chez H. H. Jahnn, W. Faulkner et Cl. Silon : Perrudja, The Wild palms, Orion aveugle, Les Corps conducteurs, Triptyque, Leçon de choses." Paris 3, 2002. http://www.theses.fr/2002PA030089.
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Cette étude est consacrée aux résurgences romanesques de l'analogie dans Perrudja et Perrudja 2 (1929/1958) de Hans Henny Jahnn, The Wild Palms (1939) de William Faulkner, Orion aveugle (1970), Les corps conducteurs (1971), Triptyque (1973) et Leçon de choses (1975) de Claude Simon. Définie à la fois comme figure de pensée et comme principe poétique, l'analogie éclaire d'un jour nouveau la composition de ces romans qui entrelacent des récits indépendants, sans points communs. L'étude des lieux de transition entre les récits permet de définir quatre configurations, qui ont valeur générique et paradigmatique (fente, syncinésie, fronce, décrochement), de préciser les effets qu'ils induisent sur l'articulation des récits, et de donner sens à leur entrelacement. Ces quatre formes ne sont pas seulement des lieux spécifiques, ils sont aussi les trois temps d'un développement (association, confusion, effraction), qui coi͏̈ncident point par point avec ceux que la tradition classique, et Aristote notamment, reconnaissent au principe d'un raisonnement par analogie : proportion, analyse des ressemblances et des différences, transgression et invention. La transposition analogique définit donc un nouvel objet, le roman analogique, dont les caractéristiques singulières, tant esthétiques que logiques, sont étudiées. Le roman analogique fait sens selon une logique qui n'est plus, ou pas seulement, celle de la rationalité classique. La dynamique analogique du sens, qui ignore la contradiction et le temps, relève des processus primaires (Freud), elle sert le lissage des discontinuités et la restauration narcissique de l'a-séparation. Toutefois, la reconstitution de la continuité n'est que seconde, elle est conquise sur des discontinuités premières, qui sont reconnues et auxquelles l'analogie donne sens. L'analogie romanesque n'est donc pas tant le moyen de restaurer cet état mythique d'indifférenciation qui définit le narcissisme primaire que d'en dire la nostalgieThis study is concerned with the inscriptions of analogy found in the following novels : Perrudja and Perrudja 2 (1929/1958) by Hanns Henny Jahnn, The Wild Palms (1939) by William Faulkner, Orion aveugle (1970), Les corps conducteurs (1971), Triptyque (1973) and Leçon de choses (1975) by Claude Simon. Defined both as figure of thought and as poetic principle, analogy casts a new light on the composition of the novels, on their ways of connecting independent and unrelated narratives. The study of the transition loci helps elucidate four different configurations (fissure, syncinesy, gathering, uncoupling) which are generic and paradigmatic. It is then possible to specify what their effects on the structures of the narratives are and to make sense of their interrelations. These four distinct forms also represent three stages in a development (association, confusion, irruption) which happen to coincide, term by term, with those identified by the classical tradition (namely Aristotle) as part of analogical reasoning : proportion, analysis of likenesses and differences, transgression and invention. The analogical transference thus defines a new object, the analogical novel with its specific characteristics, both aesthetic and logical. The analogical novel makes sense in terms of a logic which is no longer, or not only, that of classical rationality. The analogical dynamic of meaning, which knows neither contradiction nor time, partakes of primary processes (Freud) : it erases discontinuities and restores narcissistic a-separation. However, the restoration of continuity comes second and analogy acknowledges and makes sense of primary discontinuities. Novelistic analogy is, thus, less a means of restoring the mythical state of undifferentiation typical of primary narcissism than a means of expressing nostalgia for it
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Brugier, Julie. "Marginalité et communauté dans l'oeuvre romanesque de Maryse Condé, William Faulkner et Rachel de Queiroz." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100127.
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Cette thèse porte sur la façon dont les romans de Maryse Condé, William Faulkner et Rachel de Queiroz élaborent des poétiques romanesques de la communauté et de la marginalité sociale. En empruntant des outils théoriques à la philosophie, à la sociologie et aux études postcoloniales, il s’agit de réfléchir aux modalités de représentation de la communauté et de la marginalité sociale dans ces romans, tout en situant ces notions dans des contextes sociopolitiques précis. L’un des enjeux de ce travail est aussi de montrer la pertinence d’un rapprochement entre la littérature du Sud des États-Unis, des Antilles françaises et du Nord-Est du Brésil, des aires culturelles qui suscitent un nombre croissant d’études comparatistes. Les textes du corpus oscillent entre construction et déconstruction d’un imaginaire de la communauté. Dans ces œuvres, les communautés fictives fondent leur cohésion sur des mécanismes de marginalisation et de domination, dont le lecteur peut devenir complice. Les dispositifs narratifs complexes sur lesquels elles reposent le placent ainsi dans une position inconfortable, en exposant la violence qui peut sous-tendre la pratique herméneutique. Ces romans n’aboutissent donc pas à une idéalisation de la communauté : leur désenchantement expose les apories du concept. Ce n’est que de façon marginale que l’imaginaire de la communauté peut se renouveler, en fonctionnant comme un contre-chant mineur et fugitif au sein de ces œuvresThis thesis aims at showing how the works of Maryse Condé, William Faulkner and Rachel de Queiroz develop a narrative poetics of community and marginality. Drawing on philosophy, sociology and postcolonial studies, it reflects on the ways community and marginality can be represented in the novel, whilst setting these concepts within specific political and sociological contexts. This work also strives to demonstrate the validity of a comparative approach of the literature from the Southern United States, the French West Indies and the Brazilian North East: these three cultural areas have been the subject of a growing body of academic work. The body of texts examined alternatively focuses on constructing and deconstructing the fictionalization of community. In these novels, fictional communities are founded on marginalization and mechanisms of power relation and domination, such behaviors in which the reader can become complicit. The complex narrative structures on which communities are laid on place the reader in an uncomfortable position, exposing the underlying violence of all hermeneutic practices. Therefore, these novels do not idealize the concept of community, so much as their pessimism fully disclosing the aporia within. It is thus only in a marginal manner that the fictions of community can be reinvented, acting as a minor and evasive counter-melody within the narratives
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Bourse, Anne. "Archiver, machiner, hériter : la mémoire et ses techniques dans la littérature occidentale des XXe et XXIe siècles." Paris 8, 2009. http://octaviana.fr/document/152362487#?c=0&m=0&s=0&cv=0.
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Ce travail comparatiste a pour objet de mettre au jour les gestes et les rouages de la mémoire dans la littérature occidentale des XXe et XXIe siècles. Afin d'établir les enjeux de la création à l'époque de l'informatisation et de la disparition de masse, il étudie la manière dont les grands généalogistes (Zola, Nietzsche, Faulkner) soumettent l'archive aux détours de l'anachronisme et de l'oubli, avant d'aborder la dimension "machinique" de la mémoire. Au travers de l'œuvre protéiforme de Chris Marker et de la pensée de Benjamin, se donne à lire le travail d'une mémoire tisserande, accentuant la fêlure tout en raccommodant les accrocs du temps, prothèse assurant à la fois la conservation des données et rompant la chaîne de la transmission, qui exige que la lecture se fasse elle-même appareillage. C'est à l'aune d'une telle épistémo-critique, au croisement de la littérature, de la philosophie et des arts de l'image, que sont examinés les dispositifs romanesques de J. G. Ballard, W. G. Sebald, Jacques Roubaud, Hélène Cixous et Ricardo PigliaThis thesis seeks to shed light on memory's gestures and machinery in 20th and 21st century western literature. In order to analyze what is at stake in contemporary creation, in the paradoxical era of computerization and mass disappearance, this work studies the way great genealogists (Zola, Nietzsche, Faulkner) push archives along the winding roads of anachronism and oblivion, before addressing the "machinic" dimension of memory. Chris Marker's protean oeuvre and Benjamin's philosophical thought reveal the work of a weaving memory that deepens time's fissure as it stitches up its tears. Thus, memory also acts as a prosthesis that ensures the conservation of data even as it breaks up the chain of transmission, thereby requiring that our reading become an epistemo-critical apparatus. This thesis, operating at the intersection of comparative literature, philosophy and visual arts, examines the novelistic devices of J. G. Ballard, W. G. Sebald, Jacques Roubaud, Hélène Cixous and Ricardo Piglia
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Belajouza, Ramla. "Deceit, desire and the compsons : a girardian reading of William Faulkner's The sound and the fury." Master's thesis, Université Laval, 2012. http://hdl.handle.net/20.500.11794/23433.
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Ce mémoire se propose d'analyser la concordance entre l'illustration du désir humain et sa transformation en violence sociale dans les théories du désir mimétique et du mécanisme du Bouc émissaire, développées par René Girard dans ses oeuvres Mensonges Romantiques et Vérités Romanesques et Le Bouc Émissaire, et dans l'oeuvre de William Faulkner The Sound and the Fury. Ce mémoire soutient que la description du désir humain et son acheminement en crise sociale est très similaire chez les des deux auteurs. The Sound and the Fury, tout comme les oeuvres de René Girard, décrivent le désir humain comme un mécanisme triangulaire basé sur l'imitation du sujet à un model ou médiateur. Ils démontrent aussi que ces désirs peuvent créer des rivalités féroces qui peuvent induire à une violence irrépressible. Quand cette violence se multiplie par le nombre de rivaux acharnés, elle évolue en phénomène sociale : une crise que René Girard appelle Crise Mimétique et que William Faulkner reproduit dans la majorité de ces nouvelles et précisément dans The Sound and the Fury. Le mécanisme humain décrit pour l'évacuation spontanée de la violence est aussi remarquablement conforme dans l'effigie des deux auteurs. Les écrits des deux démontrent que pour évacuer leur agressivité, les sociétés la redirigent envers un ou des individus qu'ils considèrent comme inférieurs. Finalement, les deux auteurs analysent d'une manière très rapprochée les trois méthodes utilisées par l'homme pour contenir la violence. Ils présentent tout les deux les rituels comme une méthode qui a été longtemps efficace pour canaliser les tensions mais qui n'a plus sa place dans la société moderne et ce à cause du déclin religieux. Ils décrivent aussi tout les deux les méthodes compensatoires tels que les duels et les jugent inefficace et, en dernier lieu, ils considèrent tout les deux le système légal comme une méthode efficace pour l'interruption des cycles de vengeances mais pas pour l'évacuation de la violence.
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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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Ivol, Alexandre. "Le roman du temps réel." Paris 3, 2004. http://www.theses.fr/2004PA030011.
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Notre travail se fonde sur un questionnement autour de la représentation de l'expérience temporelle dans l'œuvre de William Faulkner et de James Joyce. Pour cela, nous nous sommes concentrés exclusivement sur la technique du monologue intérieur qui permet à l'intériorité du personnage principal de s'approprier les enjeux et le déroulement du processus diégétique. Notre démonstration consiste à justifier l'idée selon laquelle l'utilisation du monologue intérieur change les données initiales du récit en imposant une temporalité qui n'est plus celle de la fiction, mais qui relève avant tout du temps réel, c'est-à-dire un temps sans ellipse, qui intègre tous les élements du réel objectif ( l'environnement du " héros " ) et subjectif ( ses pensées et ses sensations ). Cette révolution temporelle au sein du récit ( ébranlant la forme conventionnelle du roman naturaliste ) correspond selon nous à la définition la plus juste de ce que représente la modernité littéraireOur work is based on the questionning about the way the experience of Time is represented in William Faulkner's and James Joyce's works. For this, we exclusively focused our attention on the stream of consciousness technique which allows the main character's inward thoughts to take over the narrative process as well as the issue at stake. Our demonstration consists in justifying the idea according to which the use of stream of consciousness changes the initial data of the narrative by imposing a time scale which has no longer anything to do with that of fiction, but which emanates from real Time, that is to say time without ellipsis, taking into account both elements of objective reality ( the hero's environment ) and of subjectivity ( his thoughts ans perceptions ). In our opinion, this temporal revolution in the heart of narrative ( which shakes the conventionnal form of the naturalist novel to its foundations ) corresponds to the true definition of what modernity represents in literary terms
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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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Tam, Pou U. "Machines in Faulkner's Mississippi garden." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2554101.
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Bordin, Marcela Ilha. "Identities in context : gender and race in William Faulkner's Light in august and Zora Neale Hurston's Their eyes were watching god." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131632.
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Este trabalho é dedicado à análise de duas obras ficcionais, “Their Eyes Were Watching God”, de Zora Neale Hurston, e “Light in August”, de William Faulkner. O ponto de partida da análise é a ideia que identidades são construídas de acordo com injunções discursivas específicas, que variam de contexto para contexto. Para tanto, foram analisados os dois personagens principais dos textos, Janie Crawford, uma mulher negra, e Joe Christmas, um homem cuja identidade racial é desconhecida. A comparação entre os dois se baseou na forma como ambas as identidades são construídas nos romances, em relação ao seu acesso à língua e a possibilidade de articulação dentro dela, e ao contexto no qual estão inseridos.This research is dedicated to the analysis of two fictional works, Their Eyes Were Watching God (1937) by Zora Neale Hurston and Light in August (1932) by William Faulkner. The starting point of the analysis is the idea that identities are constructed according to specific discursive injunctions, which vary from context to context. The study is focused on the main characters of both novels, Janie Crawford, a black woman, and Joe Christmas, a man whose racial identity is unknown. The comparison between the two characters is based on how their identities are constructed in the novels in relation to their access to language and their possibility of articulating within it, and the context in which they are inserted.
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Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
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Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
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Jayasinghe, Manouri. "Le traitement littéraire des conflits socio-politiques dans "Anil's Ghost" de Michael Ondaatje, "Monkfish Moon" de Romesh Gunasekera, "Asathye Kathaawak (une histoire de contre-vérité)" de Gunadasa Amarasekera, "Go down, Moses" de William Faulkner." Paris, INALCO, 2004. http://www.theses.fr/2004INAL0024.
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Bardy, Gilles. "De la subtile folie du désespoir : étude des conditions psychologiques de production du texte." Paris 7, 1990. http://www.theses.fr/1990PA070098.
Full textAbstract:
Dans la première partie, théorique, c'est le processus de la découverte chez Freud qui est étudie: découverte, résistance, travail analytique, découverte, et ainsi de suite. Les trois autres parties (sur The Great Gatsby de Fitzgerald, The purloined letter de Poe et As I lay dying de Faulkner), au moyen de l'analyse des signifiants, j'essaie de découvrir le fantasme central, le désir. On peut voir que, dans ces écrits, le fantasme de symbiose est dissimule par le fantasme oedipienIn the first, and theoretical part, the processes of the freudian discovery are carefully analysed: discovery, resistance, analytical work, discovery, and so on. In the three other parts (about The Great Gatsby by Fitzgerald, The purloined letter by Poe and As I lay dying by Faulkner), by means of the analysis of the most important words and situations, i try to find out the main fantasy, the desire. We can see that the fantasy of symbiosis is hidden by the oedipian fantasy