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Relevant bibliographies by topics / Sanctuary (Faulkner, William)

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Academic literature on the topic 'Sanctuary (Faulkner, William)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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Journal articles on the topic "Sanctuary (Faulkner, William)"

1

Canlı, Gülsüm, and Ayşe Banu Karadağ. "Retranslations of Faulkner’s Sanctuary in Turkish Literature." Advances in Language and Literary Studies 9, no. 3 (2018): 173. http://dx.doi.org/10.7575/aiac.alls.v.9n.3p.173.

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This study is based on a comparative analysis of Turkish translations of Sanctuary (1931) by William Faulkner and aims to review the assumptions of literary translation by Antoine Berman’s “retranslation hypothesis” and “deforming tendencies”. The novel was exposed to an obligatory rewriting process by the editor and was reworded by Faulkner who acted as a self-translator to make the original version acceptable. The rewritten version, which can be regarded as an intralingual translation, became the source text for interlingual translations. The novel was first translated by Ender Gürol as Kuts

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Wainstein, Nathan. "Faulkner's Glitches." Novel: A Forum on Fiction 56, no. 1 (2023): 85–104. http://dx.doi.org/10.1215/00295132-10251262.

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Abstract Formalist novel criticism has a strange relationship to artistic failure. Although an array of twentieth-century theoretical frameworks have taught critics to find value and meaning in negative formal phenomena that may resemble writerly lapses (such as moments of contradiction, discontinuity, or ambiguity), the same critics rarely make actual negative judgments about literary form. This article examines and challenges this critical trend. It begins by introducing the new formal category of the narrative glitch: a microscopic disruption of fictional mimesis that resembles both a forma

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Dobre, Elena Miriam. "“I told you all the time”: Revisiting the representation of Temple Drake’s traumatic abuse in William Faulkner’s Sanctuary." Cultura, Lenguaje y Representación 30 (May 15, 2023): 41–55. http://dx.doi.org/10.6035/clr.6961.

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This article examines William Faulkner's representation of traumatic abuse through his (anti)heroine Temple Drake (Sanctuary, 1931). First, I bring to the fore the material dimension of the character's traumatic rape, as opposed to its classical consideration as a multi-valent cultural metaphor (Patterson, 2002). Aided by insights from the field of trauma studies (Caruth 1995; Davis and Meretoja, 2020; Herman, 2015), I examine the clinical import the sexual assault had on the character's psyche through a close reading of her dissociation-induced traumatic memories. Second, I turn to the way in

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Bailey, Devan. "Allegory, Culture Industry, and William Faulkner's Sanctuary." Studies in American Fiction 47, no. 1 (2020): 71–96. http://dx.doi.org/10.1353/saf.2020.0003.

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Hong Loe, Mary, and Robert R. Moore. "Case studies in censorship: William Faulkner's Sanctuary." Reference Services Review 23, no. 1 (1995): 71–84. http://dx.doi.org/10.1108/eb049339.

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Picken, Conor. "Drunk and Disorderly: Alcoholism in William Faulkner’s Sanctuary." Mississippi Quarterly 67, no. 3 (2014): 441–59. http://dx.doi.org/10.1353/mss.2014.0005.

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Mohammed Abdullah, Omar. "THE POLITICS OF VIOLENCE IN WILLIAM FAULKNER’S SANCTUARY." Malaysian Journal of Languages and Linguistics (MJLL) 5, no. 2 (2016): 25. http://dx.doi.org/10.24200/mjll.vol5iss2pp25-38.

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Romdhani, Mourad. "Cross-dressing and Symbolic Transgender Disguise in William Faulkner’s Yoknapatawpha: Queer (Fe)male Identity." Faulkner Journal 34, no. 2 (2020): 139–61. http://dx.doi.org/10.1353/fau.2020.a930397.

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Abstract: In William Faulkner’s Yoknapatawpha, several female characters opt for cross-dressing to perform new roles and meet new circumstances like war. However, even with changing conditions and the return to the ordinary state, Faulkner’s women characters still stick to their masculine style, acquiring an unreadable gender identity, and displaying a sense of power that challenges the patriarchy. Drusilla Hawk in The Unvanquished (1938), Addie Bundren in As I Lay Dying (1930), Temple Drake in Sanctuary (1931) and Joanna Burden in Light in August (1932) find in cross-dressing and symbolic tra

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Wilson, Kevin G. "Crisis, Mimetic Desire, and Communal Violence in William Faulkner’s Sanctuary." Faulkner Journal 29, no. 1 (2015): 49–69. http://dx.doi.org/10.1353/fau.2015.0008.

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Kirchdorfer, Ulf. "The Importance of Being a Rat: Temple Drake in William Faulkner’s Sanctuary." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 31, no. 1 (2017): 51–54. http://dx.doi.org/10.1080/0895769x.2017.1359484.

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Dissertations / Theses on the topic "Sanctuary (Faulkner, William)"

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PARK, JUNG-OH. "La méthode mythique chez William Faulkner de "Soldier's pay a sanctuary" (1926-1931)." Paris 7, 1994. http://www.theses.fr/1994PA070025.

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Le but de cette these est d'eclairer comment les mythes fonctionnent chez faulkner, surtout dans les six romans de 1926 a 1931. Elle recherche d'abord l'utilisation structurelle du mythe par faulkner: le mythe pastoral, le mythe de demeter-persephone-kore et le sacrifice rituel servent comme l'element structurel qui donne un cadre global ou une forme a ces oeuvres. Puis, la deuxieme partie prete attention aux modeles mythiques qui apparaissent de facon repetitive et qui refletent l'imaginaire de l'auteur. Les heros mourants, le motif du double et l'archetype de la renaissance emergent d'une fa

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2

Lännström, Kristina. ""All mixed up in it" : En intersektionell läsning av William Faulkners The Sound and the Fury, As I Lay Dying och Sanctuary." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-29838.

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This thesis is an intersectional reading of William Faulkner’s novels The Sound and the Fury (1929), As I Lay Dying (1930) and Sanctuary (1931). This paper employs theories of masculinity and queer theory to examine the masculinities in the novels and their connection to blackness. It proceeds from Judith Butler’s book Bodies that Matter. The thesis focuses on the mixture of race, class, gender and sexuality in the novels. I claim that race sometimes is a mask for gender, class and sexuality in these texts. I argue that certain white characters are depicted as Afro-Americans because of their u

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Huang, Josephine Jia-hui, and 黃嘉慧. "Sensation, Imitation, and Selfhood in William Faulkner’s Dysfunctional Sanctuary." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/67576746889796037840.

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碩士<br>輔仁大學<br>英國語文學系<br>96<br>William Faulkner’s sensational novel Sanctuary immediately caught the attention of American readers when it was published in 1931, and Faulkner became popularly recognized as an important contemporary American writer. Although Faulkner in 1932 dismissed the novel as “a cheap idea” (v), in 1955 he made clear that he had done “everything possible to make it as honest and as moving and to have as much significance as [he] could put into it” (qtd. in Millgate 113). Indeed, the whole novel, as Henry Nash Smith notes, presents diverse features of Southerners with “visua

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Books on the topic "Sanctuary (Faulkner, William)"

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Faulkner, William. Sanctuary. Garland Pub., 1987.

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Faulkner, William. Sanctuary. Picador, 1989.

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Faulkner, William. Sanctuary. Vintage Books, 1987.

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Faulkner, William. Sanctuary: The corrected text. Vintage International, 1993.

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Faulkner, William. Sanctuary: The corrected text. Vintage Books, 1987.

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Cesari. Sanctuary de William Faulkner. Ellipses Marketing, 1998.

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7

Polk, Noel. Sanctuary I: The Holograph Manuscript & Miscellaneous Pages (William Faulkner Manuscripts). Routledge, 1987.

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Sanctuary by William Faulkner: Detailed Summary, Analysis and Reading Guide. BrightSummaries.com, 2019.

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9

Langford, Gerald. Faulkner's Revision of Sanctuary: A Collation of the Unrevised Galleys and the Published Book. University of Texas Press, 2015.

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10

Faulkner, William. Sanctuary. Independently Published, 2021.

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Book chapters on the topic "Sanctuary (Faulkner, William)"

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Keil, Hartmut, and Frank Kelleter. "Faulkner, William: Sanctuary." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5269-1.

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Seed, David. "The Evidence of Things Seen and Unseen: William Faulkner’s Sanctuary." In American Horror Fiction. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20579-0_5.

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3

"Sanctuary (1931)." In William Faulkner. Cambridge University Press, 1995. http://dx.doi.org/10.1017/cbo9780511519314.009.

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Tate, Allen. "“William Faulkner”." In The Dixie Limited. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496803382.003.0027.

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This chapter is aimed as an obituary of William Faulkner. It describes Faulkner as an arrogant and ill-mannered individual in a way that is peculiarly “Southern”: in company he usually failed to reply when spoken to, or when he spoke there was something grandiose in the profusion with which he sprinkled his remarks with “Sirs” and “Ma'ms.” No matter how great a writer he may be, the public gets increasingly tired of Faulkner; his death seems to remove the obligation to read him. Nevertheless, the chapter regards Faulkner as the greatest American novelist after Henry James since the 1930s. It c

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Porter, Carolyn. "The Major Phase, Part 2: Absalom, Absalom! and Go Down, Moses." In William Faulkner. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195310498.003.0003.

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Abstract Once Light in August Was Completed, Faulkner Found himself in financial trouble again. He had received virtually no royalties from Sanctuary, since Hal Smith’s fledgling publishing firm went bankrupt. His short story sales were slim and largely un remunerative, and so he accepted an offer from Hollywood, arriving in Culver City, California, at the MGM studios on May 7, 1932. He had a six-week contract at $500.00 a week. It would prove to be the first of many, eventually fairly regular, trips to Hollywood over the next decade, as Faulkner struggled to make enough money to support his f

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Bradford, Roark. "“The Private World of William Faulkner”." In The Dixie Limited. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496803382.003.0016.

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This chapter argues that William Faulkner is an individualist, and that his individuality, both in his life and in his writing, is part of his breeding, background, and nature. Faulkner's spirit of individuality can be attributed to his being a Southern Democrat. It is difficult to disassociate him from his home town of Oxford, Mississippi. Faulkner is also known for his aversion to personal exploitation and publicity. The chapter discusses Sanctuary, Faulkner's most widely read novel that propelled him from obscurity into fame and notoriety. It also comments on legends that have grown up abou

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Porter, Carolyn. "The Major Phase, Part 1: As I Lay Dying, Sanctuary, And Light In August." In William Faulkner. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195310498.003.0002.

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Abstract On June 20, 1929, Faulkner married Estelle Oldham. He would soon turn thirty-two and Estelle was thirty-three years old. Recently divorced, Estelle brought two children, aged five and ten, to the marriage, along with her own anxieties and misgivings. Judging from what his biographers have reported, Faulkner was deeply ambivalent about this decision, and Estelle was sufficiently distraught while on her honeymoon that summer that she attempted suicide. The marriage was always to he a difficult one, intermittently a disaster, not least because both were alcoholics.

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Gray, Richard. "‘They Worship Death Here’: William Faulkner, Sanctuary and Hollywood." In Proceedings of the British Academy, Volume 131, 2004 Lectures. British Academy, 2005. http://dx.doi.org/10.5871/bacad/9780197263518.003.0009.

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This lecture discusses William Faulkner's experiences in Hollywood, which he described as a place that worships death and not money. It shows that nearly all of his experiences in Hollywood were bad, but were eventually redeemed in part by friendships, most notably with director Howard Hawks. Faulkner also had a passionate affair with Meta Carpenter, Hawks' script clerk. Faulkner is shown to have never fully settled down or felt secure in Hollywood, and eventually things became worse for him as time went on. However, Faulkner was able to recognise the determining significance of Hollywood in h

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Watson, Jay. "Faulkner on Speed." In William Faulkner and the Faces of Modernity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198849742.003.0004.

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Chapter 3 traces a long arc from rural to urban, and from the railroad to the automobile, the airplane, and finally the telephone, as the culture of modernity scales up human velocities—of movement and of thinking—asymptotically toward light speed, with all the attendant epiphanies, stresses, and blindnesses such radical transformation brings. At the center of this analysis are the 1931 novel Sanctuary, with its conspicuous flirtations with popular formulae; the 1932 story “Death Drag,” which hinges on an aerial stunt performed by a Depression-era barnstorming outfit; and the 1935 novel Pylon,

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Watson, Jay. "Yoknapatawpha Road Trip; or, William Faulkner in Car Country." In Fossil-Fuel Faulkner. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192855619.003.0003.

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Abstract Chapter two explores the contradictions of petromodernity through the optic of the motor excursion, revealing Faulkner as a keen student of the ontological, phenomenological, aesthetic, epistemological, and ecological dimensions of US petroleum consumption. The Yoknapatawpha road trip contests the ideology of modern automobility, its aura of freedom, mastery, and expansiveness, with an insistent emphasis on the contingencies of personal motoring: the accidents, breakdowns, traffic jams, refueling stops, citations, sudden swerves, Jim Crowed roadways, and other exigencies that constitu

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