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Deramchia, Y. "William Faulkner and existentialism." Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.374716.
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St, Thomas Michael Joseph. ""Words are no good" the curse of signification and the curse of Faulkner's South /." CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-05162008-132514/.
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North, Richard. "An examination of William Faulkner's use of biblical symbolism in three early novels: The sound and the fury, As I lay dying, and Light in August /." Lynchburg, Va. : Liberty University, 2009. http://digitalcommons.liberty.edu.
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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
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Sheehy, John Hugh. ""The two of them together were God" : men, women and dialogue in Faulkner /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9443.
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Fahey, Michelle Turek. "The force of community : an exploration of William Faulkner's use of minor characters in As I lay dying and Light in August /." View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1524.html.
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Thesis (M.A.)--Central Connecticut State University, 1999.Thesis advisor: Dr. Robert Dunne. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 58-60).
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Geoffroy, Alain. "William faulkner, le temps de l'enfance." Paris 4, 1988. http://www.theses.fr/1988PA040116.
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Cette etude vise a mettre en lumiere les traits psychologiques sousjacents du texte faulknerien a l'aide de la psychanalyse. Ceux-ci sont selectionnes pour faire apparaitre l'importance des resurgences de l'enfance et de son cortege de complexes irresolus au coeur meme de l'intrigue, ainsi que ses responsabilites dans la construction de quelques uns des principaux romans de william faulkner. Ainsi sont successivement etudies : the sound and the fury, as i lay dying, light in august, absalom, absalom!, the wild palms, requiem for a nun et the reivers. La these s'ouvre sur une mise au point methodologique tentant d'adapter la methode psychanalytique a l'etude de la litterature, suivie de l'analyse detaillee de chacun des ouvrages cites cidessus, centree sur l'etude des personnages principaux. Puis une approche synthetique est developpee, presentant les resultats de la partie analytique dans l'optique de l'etude du temps dans l'oeuvre de faulkner. Des categories temporelles liees aux structures psycho-genetiques de l'enfance y sont degagees et mises en rapport avec les particularites stylistiques et phenomenologiques de l'ecriture faulknerienneIn this study, the main psychological underlying elements to be found in william faulkner's writings are brought to light and selected so that they could best illustrate the numerous resurgences of childhood - with ist trail of die-hard psychic complexes - into the very core of the stories which are told. It it then shown that childhood is part and parcel of the peculiar structures of some of faulkner's most famous novels, such as the sound and the fury, as i lay dying, light in august, absalom, absalom!, the wild palms, requiem for a nun and the reivers. After a chapter introducing methodological remarks on the difficulty to apply psychoanalysis to literature, it is then dealt with a detailed study of the prominent characters met in the above mentioned works. The last section is dedicated to a more synthe- tic approach of the notion of "time" in faulkner's books, based on the results of the previous analyses, so that various time indications can be classified according to their psychological, but also stylistic and phenomenological features
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Chabrier, Gwendolyne. "William faulkner et la famille sudiste." Paris 4, 1988. http://www.theses.fr/1987PA040381.
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L'etude "william faulkner et la famille sudiste" propose de faire un examen de la famille faulknerienne au travers de l'oeuvre de son auteur. Elle met l'accent a la fois sur le degre considerable d'identification auto-biographique ainsi que sur une analyse de la conformite que la famille faulknerienne pourrait avoir avec la famille sudiste dans sa realite socio-historique. Les divers types de relations familiales comme les relations conjugales, parents-enfants incestueuses et mixtes sont prises en consideration. Le portrait de la famille noire est aussi examine et contraste au tableau que fait l'auteur de la famille blanche. L'evolution dans l'attitude de faulknerface a la famille sudiste est aussi mise a jour. Finalement, l'authenticite de la famille faulknerienne est determinee en le comparant avec la vision familiale des autres ecrivains sudistes comme robert penn warren, thomas wolfe, katherine ann porter, caroline gordon, james agee, carson mccullers, erskine caldwell, william styron, truman capote et flannery o'connorThe study "william faulkner and the southern family" is an examination of the family throughout faulkner's work. It accents the considerable degree of auto-biographical projection on the author's part. It analyses the faulknerian family in relationship to its socio-historical counterpart in the south. Different forms of family relationships such as the marital, parental-child, incestuous and inter-racial ones are taken into consideration. The portrait of the black family is also examined and contrasted to the one the author gives of the white family. The evolution of faulkner's attitude toward the southern family is also brought to light. Finally, the authenticity of the faulknerian family is established by comparing the author's vision of family to the one of the other southern writers such as robert penn warren, thomas wolfe, katherine ann porter, caroline gordon, james ageen, carson mccullers, erskine caldwell, william styron, truman capote and flannery o'connor
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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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Geoffroy, Alain. "William Faulkner, le temps de l'enfance." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37613834t.
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Guillain, Aurélie. "Faulkner : le roman de la détresse /." Rennes : [Rennes] (6 Av. Gaston-Berger, 35000) : Presses universitaires de Rennes ; [Fondation Faulkner], 2003. http://catalogue.bnf.fr/ark:/12148/cb38978048d.
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Texte remanié de: Th. doct.--Litt. américaine--Strasbourg 2, 1998. Titre de soutenance : Les énergies du désespoir : la détresse dans les romans de William Faulkner (1925-1942).Bibliogr. p. 281-294. L'ouvrage porte par erreur : ISSN 0154-5590.
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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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GRANGEIRO, Alessandra Carlos Costa. "Tempo e memória na ficção de William Faulkner." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2841.
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Previous issue date: 2011-06-27This is a study of William Faulkner s works concerning the saga Yonapatawpha. The works were read from the themes of time and memory. We made a theoretical trajectory over time and noted the conception assumed in the 18th century novel, which has a singular and linear time, and in modern novel, in which time is singular/plural. We consider the narrative, in a general way, as a poetic solution to the aporetic of time and we point to the bond that the literary work has with the world and with the reader. For that we made a trajectory on the threefold character of mimesis, based on considerations of Paul Ricoeur. In this sense, firstly, we point out the relationship of the saga and the weaving of the plot with the history of the southern United States. This demonstration has assumed the intersection between fiction and history, for they, taken together, have the power to refiguring time. Secondly, we analyzed the novel The sound and the fury. At this point, we confined ourselves to discussions of Gerard Genette and Robert Humphrey, for beyond grasping the refiguration of time in the weaving of the plot, we wanted to seize it in the level of the immanent structure of the narrative. We have used the assumption that the narrative incorporated the concept of structure of social sciences, and focusing on the concept of structure, concurrency, that we kept the relationship between fiction and history. At this point, we demonstrate that the concept singular/plural time was mimicked in the immanent structure of the narrative. Finally, we bring to evidence that the relationship between time and memory points to the historical issues and to metaphysical questions, and to eternity, which is, for Plato and Augustine, the opposite of time of living, of experience. Moreover, we put into evidence that both history and eternity also incorporate the concept of singular/plural time. We return to the ideas of Ricoeur and undertake a discussion on the level of mimesis III, through dialogue with major critics of the Faulknerian work. We did our reading seeking convergence between the works The sound and the fury and Absalom, Absalom. From our reading, this convergence occurs in the interest of the Quentin for the history of Sutpen s family. These works, without releasing from the most linear aspects of time, explore the hierarchical levels which constitute the depth and the complexity of temporal experience. We finish the demonstration of the character of the threefold character of mimesis, and the levels of critical reading of a text which should point to two ways: to the configuration level of the work and to the world that this configuration protrudes out of itself, which is a world vision related to a temporal experience, which has its roots in the aporiae of St. Augustine, that is, in great contrast between the distentio and the intentio animi.
Este trabalho é um estudo da obra de William Faulkner concernente à Saga de Yonapatawpha. As obras foram lidas a partir das temáticas tempo e memória. Fizemos um percurso teórico sobre o tempo e evidenciamos a concepção pressuposta no romance do século XVIII, que é a de um tempo singular e linear, e no romance moderno, que é singular/plural. Consideramos a narrativa de um modo geral como uma solução poética para a aporética do tempo e apontamos para o vínculo que a obra literária tem com o mundo e com o leitor. Para isso, fizemos um percurso sobre o caráter tríplice da mimese, com base nas considerações de Paul Ricoeur. Nesse sentido, apontamos, em primeiro lugar, a relação da saga, da tessitura da intriga, com a história do sul dos Estados Unidos. Essa demonstração tem pressuposto o entrecruzamento entre a ficção e a história, pois elas, consideradas conjuntamente, têm o poder de refigurar o tempo. Em segundo lugar, fizemos uma análise da obra O som e a fúria. Nesse ponto, nos ativemos às discussões de Gerard Genette e de Robert Humphrey, pois, além de apreendermos a refiguração do tempo na tessitura da intriga, quisemos apreendê-lo no nível da estrutura imanente da narrativa. Valemo-nos do pressuposto de que a narrativa incorporou o conceito de estrutura das ciências sociais e é com foco no conceito de estrutura, de simultaneidade, que mantivemos a relação entre a ficção e a história. Nesse ponto, demonstramos que a concepção de tempo singular/plural foi mimetizada na estrutura imanente da narrativa. Finalmente, evidenciamos que a relação entre tempo e memória aponta para as questões históricas e para questões metafísicas, para a eternidade que é, para Platão e Agostinho, o oposto do tempo da vivência, da experiência. Além disso, evidenciamos que tanto a história quanto a eternidade também incorporam a concepção de tempo singular/plural. Retomamos as ideias de Ricoeur e empreendemos uma discussão no nível de mimese III, mediante o diálogo com grandes críticos da obra faulkneriana. Fizemos a nossa leitura buscando a convergência entre as obras O som e a fúria e Absalão, Absalão. Segundo nossa leitura, essa convergência dá-se no interesse de Quentin pela história da família de Sutpen. Essas obras, sem se libertarem dos aspectos mais lineares do tempo, exploram os níveis hierárquicos que constituem a profundidade e a complexidade da experiência temporal. Finalizamos a demonstração do caráter tríplice da mimese, bem como os níveis de leitura crítica de um texto que devem apontar para dois caminhos: para o nível de configuração da obra e para o mundo que essa configuração projeta para fora de si, que é uma visão de mundo relacionada a uma experiência temporal, que tem suas raízes nas aporias de Santo Agostinho, ou seja, na grande oposição entre a distentio e a intentio animi.
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Monroe, Stephen Michael. "Exposing American shame : the emotional attunement of William Faulkner and Willa Cather /." Full text available from ProQuest UM Digital Dissertations, 2007. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1417800511&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1220899415&clientId=22256.
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Carpenter, William Ridgeway. "Lyrical thematics in Faulkner's Light in August /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9367.
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Strawn, John R. "Dark house : William Faulkner and the making of Absalom, Absalom! /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946302.
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Frohriep, Susanne. "Innovation und Tradition : eine Untersuchung der stilistischen Kreativität in der Erzählkunst William Faulkners /." Würzburg : Könishausen & Neumann, 1999. http://catalogue.bnf.fr/ark:/12148/cb39147515q.
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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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Madigan, Patricia Alice. "A performance analysis of William Faulkner's Absalom, Absalom! /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487327695624074.
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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.
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Daufenbach, Claus. "Ästhetizismus und Moderne : Studien zu William Faulkners früher Prosa /." Heidelberg : C. Winter, 1990. http://catalogue.bnf.fr/ark:/12148/cb35568026s.
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Clough, Edward. "Building Yoknapatawpha : reading space and the plantation in William Faulkner." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/48770/.
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This thesis is about the Southern plantation in Faulkner’s Yoknapatawpha fiction: how it is represented and constructed, how it is narratively articulated and experienced as both space and symbol. But as its full title suggests, Building Yoknapatawpha is equally about narrative structures and spaces too: about how Yoknapatawpha textually fits together; about how this spreading oeuvre was constructed by Faulkner and how it may equally be reconstructed by the reader. It is about both the reading of space and the space of reading – about how the architectural spaces and social order of the Southern plantation and the narrative structures of the novel inform, complement, and challenge one another, and how their affinity may ultimately be used to generate a new “spatialized” model of literary reading. Foregrounding tensions between narrative “details” and “design” and conceptions of “ruin” and “restoration”, this thesis explores how Faulkner’s Yoknapatawpha novels function simultaneously as “open” and “closed”. It considers how Absalom, Absalom! (1936) attempts to recuperate the repressed historical connections present in Flags in the Dust (1929), only to erase them once more through death, destruction, and narrative closure. It considers how Go Down, Moses (1942) offers models of black domesticity that resist the oppressions of segregation and lynching – but which are dispersed through black diaspora and narrative exclusion. It considers how The Mansion (1959) revises and integrates details from earlier Yoknapatawpha texts to create a richly layered textual space – but which is in constant tension with the process of the historical “whitening” of the Southern post-plantation landscape which it ultimately depicts. Building Yoknapatawpha concludes by attempting to resolve these tensions into a new model of literary reading: deconstructing Yoknapatawpha to reassemble it as a layered “mapping” of multiple parallel narrative paths and connective links, which resist the mastery – and erasure – imposed by linearity and closure.
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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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Le, Noan Anne-Marie. "Images mythiques du Sud, Yves Berger, Gabriel Casaccia, William Faulkner." Paris 3, 1985. http://www.theses.fr/1985PA03A081.
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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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Lange, Sylvia. "Die Figurenzeichnung bei William Faulkner dargestellt an ausgewählten Yoknapatawpha-Romanen." Würzburg Königshausen & Neumann, 2009. http://d-nb.info/99747534X/04.
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Ferrer, Daniel. "Ecritures de la folie James Joyce, Virginia Woolf, William Faulkner /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37605039m.
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Germana, Michael Joseph. "Forget Jerusalem: William Faulkner's Hyperreal Novel." Thesis, Virginia Tech, 1999. http://hdl.handle.net/10919/31763.
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This paper explores the relationality between Modernism and Postmodernism as well as between literature and theory by examining the works of two writers: master novelist William Faulkner, and high priest of Postmodernism, Jean Baudrillard. Specifically, this paper examines Faulknerâ s eleventh novelâ the oft-neglected If I Forget Thee, Jerusalemâ as a proto-postmodern text which, when examined by the light of Baudrillardâ s theory of simulacra and simulations, informs the transition from Modernism to Postmodernism.
This paper treats each authorâ s work as a lens through which to view the other. The result is both a re-vision of Faulknerâ s social philosophy and a re-examination of the epistemic break that separates Faulknerâ s philosophy from that of Baudrillard.Master of Arts
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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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Roberts, Diane. "Faulkner's women." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328009.
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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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Smith, Philip Anthony James. ""The Echo, Not the Shot" : metamorphosis and mediation in William Faulkner." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/14714.
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This thesis is an attempt to situate and contextualize William Faulkner’s novels of the 1930s within the framework of the emerging mass culture forms of that period, and to investigate this author’s assimilation and inversion of the structures and the stylistic and formalistic devices
afforded not only by film, but by animated cartoons, newsreels, and radio. Faulkner’s works are fully immersed in and reflective of a world of metamorphosis and mediation engendered by these mass culture forms, a world when social and artistic hierarchies also fully enter the modernist period of incessant flux. Chapter One will offer a brief overview of the perceptual and literary
effects engendered in the early days of media culture as it may apply to Faulkner and his contemporary Sherwood Anderson, including a growing loathing of what was seen as an increasing tendency toward “standardization” in both literature and life. For Faulkner however the media culture which was partially responsible for standardization also provided new formal
possibilities through which the writer could address it. Chapter Two will focus on two of
Faulkner’s most beloved popular culture forms -the animated cartoon and the newsreel - and their relation to Light in August, Absalom, Absalom! and Pylon in particular. The interpolation and recuperation of mass culture devices and motifs and the concern with a standardized world reach an apotheosis in the 1939 novel "If I Forget Thee, Jerusalem" (now known as The Wild Palms), a work which also can be seen as the culmination of Faulkner’s decade-long experiments in the use of multiple narrative voices. Chapter Three of the thesis will examine this novel’s and its narrators’ relation to the contemporaneous culture of cacophony these media arts were producing,
in particular that of radio’s. As this book also functions as a cautionary tale as to the convergence of writing and mass culture, Chapter Four will discuss the double transfiguration of genre codes and restrictions found within Jerusalem, as well as briefly examine the acceleration of the culture of celebrity and the attendant fragmenting mediation of literary works found in the later media age (that of television).
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GILL, AZAM. "L'effet des corrections sur "etendards dans la poussiere" de william faulkner." Grenoble 3, 1987. http://www.theses.fr/1987GRE39020.
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Flags in the dust, troisieme roman de william faulkner, a ete revise, considerablement reduit et publie sous le titre de sartoris en 1929. 1973 vit la publication posthume du roman original, et 1974 la seule comparaison universitaire a ce jour du dactylogramme tronquee a l'original: le travail universitaire de melvin reed roberts (austin, texas). A la suite de roberts, the effect of editing on "flags in the dust by william faulkner elargit son etude a d'autres elements que les personnages. Soucieuse d'eviter les limites d'une discipline critique unique, cette communication developpe plusieurs theories; elle espere ainsi fournir une contribution aux etudes comparatives de manuscrits. Une preface de trente quatre pages resume la critique concernant flags jusqu'en 1986. Le chapitre un, s'appuyant sur les travaux d'elizabeth drew et de carvell c. Collins sur les mandalas et faulkner, demontre la structure circulaire de flags comme mandalique. Le chapitre deux detaille les modalites de la revision. Puis les chapitres trois, quatre et cinq confrontent respectivement la revision a la structure, a l'intrigue, aux transitions, ainsi qu'aux ouvertures et aux fins. La revision et la rhetorique, la revision et les themes, la revision et les personnages constituent les chapitres six, sept et huit. La composition circulaire de flags s'affaiblit dans sartoris avec les transitions maladroits entre les chapitres. La revision imposee a obscurci les constantes de la technique et du style faulkneriens, diminue la presence keatsienne et l'effet symbolique global. Des fragments importants pour l'intelligibilite des themes et des personnages ont disparu, d'autres ont ete ajoutes. Ainsi, sartoris se revelerait peu fidele a l'intention de faulkner. La conclusion conteste egalement l'utilite de modifier le titre en suppremant l'opposition, et l'application de criteres extra-artistic a une oeuvre d'artFlags in the dust, william faulkner's third novel, was edited, significantly reduced, and published as sartoris in 1929. 1973 saw the posthumous publication of flags, and 1974 the only academic work so far comparing the truncated typescript with the original at the university of texas at austin by melvin reed roberts. In an effort to continue roberts'work. The effect of editing on "flags in the dust" by william faulkner includes elements besides characters as its objects of scrutiny. Seeking to avoid the limitations of a single critical discipline, the dissertation has drawn upon several theories. This flexible response to exigent critical theories hopes to furnish a precedent for comparative manuscript studies , literary or other- wise. A preface of thirty-four pages summarizes faulkner criticism relevant to flags upto 1986. Chapter one, encouraged by elizabeth drew and carvell c. Collins' earlier work on mandalas, describes the circular plot structure of flags as mandalic. Chapter two details pertinent facets of the editing. The plot structure and editing described, chapters three, four and five confront the editing and plot structure, the editing and the transitions, and openings and endings, respectively. The editing and the imagery, the editing and the themes, and the editing and the characters successively constitute chapters six, seven and eight. The circumife rentiality of flags finds its expression enfeebled in sartoris, with awkward transitions between chapters. Constants of faulknerian technique and style are obscured by the editing, and a strong keatsian presence constrained with the over-all symbolic effect eroded. Portions pertinent to the reading of themes and characters are deleted or added to. The proxi- mity of sartoris to faulknerian intention becomes dubious. Indeed, the conclusion challenges the very need for the change of title
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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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Costa, Marcia Virginia Gomes da. "Tradução comentada do conto Lizards in Jamshyd's Courtyard, de William Faulkner." Florianópolis, SC, 2006. http://repositorio.ufsc.br/handle/123456789/103150.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Estudos da TraduçãoMade available in DSpace on 2013-07-16T03:12:12Z (GMT). No. of bitstreams: 1 243963.pdf: 6099101 bytes, checksum: c2a2b9f97a71482c10a19bd950165c29 (MD5)
Este trabalho de dissertação é fruto de estudos de teorias da tradução e teve como princípio norteador a aquisição de conhecimentos sobre aspectos relacionados com a produção da obra original, para só então definir a posição do tradutor. Somente após a contextualização da obra original e análise das características do autor concretizou-se a tradução do conto Lizards in Jamshyd's Courtyard de William Faulkner. Para manter a força do conto original não houve simplesmente a preocupação em conseguir encontrar equivalentes ou traduzir palavra por palavra, mas sim, em adentrar no jogo de significantes, de maneira a tornar a tradução o mais próximo possível do original, respeitando a heterogeneidade das situações lingüísticas e culturais existentes entre a língua inglesa do original e a língua portuguesa no Brasil, para a qual o conto foi traduzido. Muitos obstáculos foram encontrados ao longo desse processo, e a estes, foram apresentadas soluções. Tanto as hipóteses levantadas para a solução dos problemas, quanto as decisões tomadas descritas nesta pesquisa estão ancoradas nos princípios teóricos de Lawrence Venutti, Georges Mounin, John C. Catford e Antoine Berman. This essay has its origins in studies about translation theories and in the knowledge acquisition about the aspects related with the production of the original work. Just after those studies, was established the position as translator. And only after the contextualization of the original work and the analysis of the author characteristics it was started the translation process of the tale Lizards in Jamshyd's Courtyard written by William Faulkner, this tale is part of the novel Hamlet written by the same author. To maintain the strength of the original tale there was not just a concern about getting equivalents or translating word by word , but was to be very close to the characteristics of the original tale; considering what is heterogeneous in the linguistic and cultural situations between the English language in which the original tale was written, and the Portuguese language from Brazil where the tale has been translated. The hypothesis, the possible solutions to the problems found, and the decisions taken in this research are based on: Lawrence Venutti, Georges Mounin, John C. Cattford and Antoine Berman's theories.
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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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Alps, Sandra Kay. ""As the stereopticon condenses into one instantaneous field": The reader's holographic reality in part IV of Faulkner's The Bear." CSUSB ScholarWorks, 1989. https://scholarworks.lib.csusb.edu/etd-project/494.
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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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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
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Rivers, Patricia Ann. "The narrative poetics of William Faulkner, an analysis of form and meaning." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29567.pdf.
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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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Whiting, Luke. "As words fail : language and communication in the novels of William Faulkner." Thesis, University of Essex, 2005. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.721514.
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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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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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Townsend, June H. "William Faulkner and the Spanish post-Civil War novel : Luis Martin Santos /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487844105976954.
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Harmon, Geraldine Mart. "William Faulkner, his eye for archetypes, and America's divided legacy of medicine." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-07152008-114016/.
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Thesis (Ph. D.)--Georgia State University, 2008.Title from file title page. Thomas L. McHaney, committee chair; Nancy Chase, Marti Singer, committee members. Electronic text (175 p.) : digital, PDF file. Description based on contents viewed November 6, 2008. Includes bibliographical references (p. 161-175).
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Savolainen, Matti. "The element of stasis in William Faulkner : an approach in phenomenological criticism /." Tampere : University of Tampere, 1987. http://catalogue.bnf.fr/ark:/12148/cb349827116.
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Tang, Man-ching Tiffany. "Punctuating experience memory in Faulkner, Proust, Resnais /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39707295.
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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