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Journal articles on the topic 'William Faulkner'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 March 2023

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1

Maszewski, Zbigniew. "Remembering William Faulkner’s Address Upon Receiving the Nobel Prize for Literature." Polish Journal for American Studies, no. 13 (Spring 2019) (October 15, 2019): 5–12. http://dx.doi.org/10.7311/pjas.13/1/2019.01.

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William Faulkner was awarded the Nobel Prize in literature for the year 1949. He officially received the Prize and delivered his acceptance speech on December 10, 1950. This article re-examines critical responses to the writer’s Nobel Prize address, their interest in the address’s intertextual references to Faulkner’s earlier works and the works of other writers. The language of the address documents significant aspects of Faulkner-the writer’s/Faulkner-the reader’s aesthetic vision from the perspective of his didactic concern with the duties of the writer facing the challenges of his/ her time and as a means of constructing publicly Faulkner’s own literary self-portrait of universal dimensions.

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2

Szydłowska, Iwona. "William Faulkner As a Philosophical Writer." Kultura i Wartości 26 (January 22, 2019): 305–25. http://dx.doi.org/10.17951/kw.2018.26.305-325.

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3

Huang, Xiuguo. "A review of the comparative study of Mo Yan and Faulkner in China." Semiotica 2019, no. 227 (March 5, 2019): 19–29. http://dx.doi.org/10.1515/sem-2016-0027.

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AbstractMo Yan’s multi-layered and allegorical tales were highly inspired by William Faulkner. Mo Yan’s semi-fictional Gaomi Northeast Township was often linked to William Faulkner’s fictional Yoknapatawpha, and he himself was extolled by the Chinese scholars to be “China’s Faulkner.” Inside China, there have emerged a great number of comparative studies on Faulkner and Mo Yan, which are usually conducted from the perspectives of literary forms, native-soil complex, attitudes towards tradition, the influence of local culture, and so on. However, despite the strong record of research on these two writers in China, there is still room for improvement in the study, for after the initial stage of the superficial and sporadic comparison between individual works, the comparative study of Faulkner and Mo Yanis in pressing need of comprehensive and systematic research of these criticisms.

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4

Parker, Robert Dale, Alan Warren Friedman, Gail L. Mortimer, and Robert Harrison. "William Faulkner." Modern Language Review 84, no. 1 (January 1989): 148. http://dx.doi.org/10.2307/3731977.

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5

Hall Petry, Alice. "WILLIAM FAULKNER." Canadian Review of American Studies 18, no. 3 (September 1987): 423–28. http://dx.doi.org/10.3138/cras-018-03-10.

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6

Friedman, Alan Warren, Thadious M. Davis, William Faulkner, Louis Daniel Brodsky, Robert W. Hamblin, Judith L. Sensibar, William Faulkner, et al. "William Faulkner." Contemporary Literature 29, no. 1 (1988): 140. http://dx.doi.org/10.2307/1208531.

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7

Pyra, Justyna. "The Literary Work of William Faulkner and the „Podolski Series” by Włodzimierz Odojewski. A Comparative Essay." Tekstualia 1, no. 44 (January 4, 2016): 135–42. http://dx.doi.org/10.5604/01.3001.0013.4198.

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The article offers a comparative reading of the writings of William Faulkner and Polish novelist Włodzimierz Odojewski. Odojewski, the author, among others, of the novels Wyspa ocalenia and Zasypie wszystko, zawieje…, names Faulkner as an important inspiration. The correspondences between Faulkner’s and Odojewski’s works can be found not only on the formal level in the use of stream of consciousness, but also in the creation of characters, especially women, and the construction of spaces.

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8

Lind, Ilse Dusoir, Joseph Blotner, Thomas L. McHaney, Michael Millgate, Noel Polk, and James B. Meriwether. "William Faulkner Manuscripts." American Literature 60, no. 1 (March 1988): 145. http://dx.doi.org/10.2307/2926425.

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9

Jansson, Mats. "In the Traces of Modernism: William Faulkner in Swedish Criticism 1932–1950." Humanities 7, no. 4 (October 4, 2018): 96. http://dx.doi.org/10.3390/h7040096.

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This article focusses the reception of William Faulkner in Sweden from the first introduction in 1932 until the Nobel Prize announcement in 1950. Through reviews, introductory articles, book chapters, forewords, and translations, the critical evaluation of Faulkner’s particular brand of modernism is traced and analysed. The analysis takes theoretical support from Hans Robert Jauss’ notion of ‘horizon of expectations’, Gérard Genette’s concept of ‘paratext’, and E.D. Hirsh’s distinction between ‘meaning’ and ‘significance’. To pinpoint the biographical and psychologizing tendency in Swedish criticism, Roland Barthes’s notion of ‘biographeme’ is introduced. The analysis furthermore shows that the critical discussion of Faulkner’s modernism could be ordered along an axis where the basic parameters are form and content, aesthetics and ideology, narrator and author, and writer and reader. The problematics adhering to these fundamental aspects are more or less relevant for the modernist novel in general. Thus, it could be argued that the reception of Faulkner in Sweden and Swedish Faulkner criticism epitomize and highlight the fundamental features pertaining to the notion of ‘modernism’, both with regard to its formal and content-based characteristics.

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10

Lawson, Andrew. "William Faulkner: An Economy of Complex Words." Historical Materialism 19, no. 2 (2011): 137–43. http://dx.doi.org/10.1163/156920611x573851.

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AbstractThis review-essay explores the theoretical and methodological innovations of Richard Godden’s William Faulkner, arguing that it makes a signal contribution to historical materialism in literary studies. The article focuses on Godden’s concept of ‘generative structure’, and relates the term to earlier usages by Aglietta and Jameson. After summarising the close readings of Faulkner’s texts performed by Godden, the article suggests an expanded rôle for biography in making the linkages between economy, psyche and text which form the basis of Godden’s analysis.

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11

Sáber, Rogério Lobo. "O mito em William Faulkner: entre a defesa e a denúncia da tradição / The Myth in William Faulkner’s Works: Between the Defense and the Denouncement of the Tradition." Cadernos Benjaminianos 15, no. 2 (March 13, 2020): 233. http://dx.doi.org/10.17851/2179-8478.15.2.233-248.

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Resumo: Este ensaio prioriza uma leitura da poética do escritor norte-americano William Faulkner (1897-1962) articulada a teorias culturais e filosóficas sobre o mito e busca compreender as relações que se estabelecem entre a estética faulkneriana e a (re)criação da tradição sulista, que pode ser interpretada como um discurso mítico. O artigo reflete sobre a relação do escritor com o mito sulista e sobre o tratamento literário que é conferido à temática em seus romances. A investigação proposta torna evidente que Faulkner se situa em uma encruzilhada existencial, bifurcada entre a defesa e a denúncia da tradição de sua terra natal. A (re)criação literária do universo mítico sulista permite, ao escritor, problematizar a narrativa mítica em que se converteu a tradição, questionando sobretudo suas limitações ideológicas. O esforço em narrar a crônica do Sul também é uma tentativa possível de reconstrução do sentido existencial de uma comunidade esfacelada pela Guerra de Secessão e pelas vertiginosas mudanças histórico-econômicas.Palavras-chave: William Faulkner; mito; tradição; gótico do Sul.Abstract: This essay proposes a reading of the poetics of William Faulkner, by linking it to cultural and philosophical theories about myth, and it intends to understand the established relations between Faulkner’s aesthetics and his creative review of the Southern tradition, read as a mythical discourse. This paper reflects about the relation between the writer and the Southern myth and it speculates about the literary handling consecrated to such theme in his novels. The research brings to light that Faulkner faces an existential forked crossroad that encourages him to defense and denouncement of his homeland tradition. The literary (re)creation of the Southern mythical universe allows the writer to problematize the mythical narrative the tradition evolved into and to question its ideological boundaries. The effort into narrating the Southern chronicle is also a possible attempt to rebuild the existential meaning of a community shattered by American Civil War and by vertiginous historical and economical changes.Keywords: William Faulkner; myth; tradition; Southern Gothic.

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12

Stefańczyk, Karol. "Fatality and Identity: Milosz Reads Faulkner." Tekstualia 1, no. 44 (January 4, 2016): 123–34. http://dx.doi.org/10.5604/01.3001.0013.4197.

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The article highlights the infl uence of William Faulkner’s on Czeslaw Milosz’s writing. The starting point in such an investigation is Milosz’s article written for a Polish journal, while the poet stayed in United States shortly after the Second World War. Titled simply „Faulkner”, it underlines those crucial features of Faulkner’s prose which Milosz himself found symptomatic and inspiring. Two works by Milosz appear to have been particularly infl uenced by Faulkner’s novels: The Issa Valley (Dolina Issy) and Native Realm (Rodzinna Europa). Both focus on the search for identity and the tragic fatality which leads characters onto the brink of madness.

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13

Ingvarsson, Haukur. "Frá suðri til norðurs. William Faulkner og Guðmundur Daníelsson." Kynbundið ofbeldi II 19, no. 1 (June 14, 2019): 137–67. http://dx.doi.org/10.33112/ritid.19.1.7.

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During the Forties, Icelandic novelist Guðmundur Daníelsson, wrote a trilogy called Out of the Ground Wast Thou Taken: Fire (1941), Sand (1942) and The Land beyond the Land (1944). Leading up to the publications Daníelsson was vocal about the fact that he had read the works of American novelist William Faulkner. Later in life he would reveal that he read Faulkner in Norwegian translations and proudly acknowledged the direct line of descent he recognized between his own work and that of his American colleague. Until now no systematic analyzes has been done on the many parallels between their works. The article is divided in two. The first half unfolds in which ways Daníelsson reproduced structures, milieu, ideas, characters and events from Faulkner’s nov-el Light in August in Fire. The latter half of the article situates Daníelsson’s trilogy within a critical framework developed by Faulkner scholars in the last two decades where they have explored the relationship between Faulkner and the many writers who have engaged with him from the postcolonial world. Questions will be raised about if and then how Daníelsson deals with Iceland’s postcolonial past in his novels, with a special emphasis on the connection between power and identity as it mani-fests itself in relation to, for example, class, race, gender and disability.

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14

Barnes, Stephen D. "Between Chaos and Cosmos." Janus Head 11, no. 1 (2009): 127–49. http://dx.doi.org/10.5840/jh200911126.

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Ernesto Grassts rhetorical theory proves helpful in illuminating William Faulkner's conception of humanity's dependence upon language. For both Grassi and Faulkner, language—the fundamental human art—serves metonymically, pointing toward humanity's need for other forms of artifice. Through the use of artificial means, the species is able not merely to survive, but to flourish, to prevail Characters in Faulkner's novels, such as Quentin Compson and Darl Bundren, who seek to transcend human verbalityI conventionality manifest forms of psychic disintegration. Like Faulkner, Grassi considers the attempt to escape artiflce as an act of insanity. Contrariwise, Grassi uses the term folly to refer to the willing recognition of the need to accept theforms of human artifice that allow the species to thrive.

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15

Pyra, Justyna. "Stream of Consciousness and Polyphony in William Faulkner’s Novels The Sound and the Fury and Absalom, Absalom! An Attempt at Synthesis." Tekstualia 1, no. 44 (January 4, 2016): 59–70. http://dx.doi.org/10.5604/01.3001.0013.4189.

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The article applies Robert Humphrey’s analysis of the narrative mode of stream of consciousness to William Faulkner’s novels The Sound and the Fury and Absalom, Absalom! It discusses Faulkner’s uses of different types of stream of consciousness and his presumed purposes behind the employment this narrative mode. Unlike some other modernist writers, who treated stream of consciousness as a literary experiment, Faulkner developed it into a complex narrative mode.

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16

Donaldson, Susan V., and Frederick R. Karl. "William Faulkner: American Writer." American Literature 62, no. 2 (June 1990): 344. http://dx.doi.org/10.2307/2926937.

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17

Slaughter, Carolyn Norman, Louis Daniel Brodsky, and Austin M. Wright. "William Faulkner, Life Glimpses." American Literature 63, no. 3 (September 1991): 569. http://dx.doi.org/10.2307/2927270.

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18

SIMON, JUSTIN. "William Faulkner: American Writer." American Journal of Psychiatry 146, no. 12 (December 1989): 1621–22. http://dx.doi.org/10.1176/ajp.146.12.1621.

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19

Messer, H. C. "William Faulkner and the Southern Landscape; Global Faulkner." American Literature 82, no. 2 (January 1, 2010): 436–38. http://dx.doi.org/10.1215/00029831-2010-014.

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20

Kirchdorfer, Ulf. "Don’t Do It on My Carpet: The Humor of William Faulkner’s “Barn Burning”." American Studies in Scandinavia 46, no. 2 (September 1, 2014): 3–15. http://dx.doi.org/10.22439/asca.v46i2.5133.

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William Faulkner’s “Barn Burning” has been appreciated critically in just about every way but for its humor. While appreciations not concerned with humor are crucial to understanding the work, they can also be limiting. This discussion of Faulkner and humor in “Barn Burning” will acknowledge that humor stoops to low levels and crudity. But it also soars to great heights, with Faulkner’s command of the English language and ability to draw allusions effortlessly into the fabric of his story.

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21

O'Callaghan, Eoin. "A demanding form: William Faulkner and the short story." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2015 (January 1, 2015): 142–46. http://dx.doi.org/10.33178/boolean.2015.29.

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Few authors have had such an impact on the American literary canon as the Southern novelist William Faulkner. His fiction of four decades not only constitutes an extensive exploration of Southern people and their environment, but represents a study of universal human tragedies and moral struggles. The zenith of Faulkner’s career was his receipt, in 1949, of the Nobel Prize for Literature. Faulkner outlined, in his acceptance address, his belief in the endurance of man and the potential of writing to help him prevail. In particular, he advocated a return to what he perceived to be the principal theme of writing: the problems of the human heart in conflict with itself. His receipt of the award was naturally a turning point in his lengthy career. Its prestige and promise of financial security helped to ameliorate his financial struggles and to cement his position as an American master of letters. Some ...

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22

Bai, Xiaojun, Xiaotong Zhang, and Yihui Li. "An Analysis of Emily's Characters in A Rose for Emily from the Perspective of Narration." Journal of Language Teaching and Research 11, no. 4 (July 1, 2020): 611. http://dx.doi.org/10.17507/jltr.1104.12.

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William Faulkner, once won the Nobel Prize in 1950 presentation speech, is considered as one of the grandest Southern American novelists, because he is seemingly the "unrivaled master of all living British and American novelists". A Rose for Emily is one of Faulkner's most excellent short novels. Besides, the narrative of spaces in this novel is changeable and subtle, and the research on it has always been both difficult and hot. This paper attempts to interpret A Rose for Emily from a narrative style, to explore how Faulkner constructed the narrative of the novel, and then to analyze the characters of Emily in the novel.

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23

Watson, Jay, and Joel Williamson. "William Faulkner and Southern History." South Atlantic Review 59, no. 4 (November 1994): 161. http://dx.doi.org/10.2307/3201382.

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24

Clayton, Bruce, and Joel Williamson. "William Faulkner and Southern History." American Historical Review 100, no. 3 (June 1995): 961. http://dx.doi.org/10.2307/2168735.

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25

Skei, Hans. "The Humor of William Faulkner." American Studies in Scandinavia 20, no. 2 (September 1, 1988): 83–89. http://dx.doi.org/10.22439/asca.v20i2.1178.

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26

Clark, William Bedford, and James G. Watson. "William Faulkner: Letters and Fictions." South Central Review 5, no. 2 (1988): 105. http://dx.doi.org/10.2307/3189582.

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27

Marshall, Alexander. "William Faulkner: The Symbolist Connection." American Literature 59, no. 3 (October 1987): 389. http://dx.doi.org/10.2307/2927123.

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Dunn, Margaret M., and James G. Watson. "William Faulkner: Letters & Fictions." American Literature 60, no. 2 (May 1988): 307. http://dx.doi.org/10.2307/2927226.

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29

Harvey, Cathy Chance, and Richard Gray. "The Life of William Faulkner." American Literature 68, no. 1 (March 1996): 258. http://dx.doi.org/10.2307/2927574.

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30

Kreyling, Michael, and Joel Williamson. "William Faulkner and Southern History." American Literature 66, no. 2 (June 1994): 395. http://dx.doi.org/10.2307/2928010.

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31

Watson, James G. "WILLIAM FAULKNER: THE CONTEMPORARY REVIEWS." Resources for American Literary Study 23, no. 2 (January 1, 1997): 291–93. http://dx.doi.org/10.5325/resoamerlitestud.23.2.0291.

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32

Nowlin, Michael. "The Gift of William Faulkner." University of Toronto Quarterly 73, no. 4 (October 2004): 1051–54. http://dx.doi.org/10.3138/utq.73.4.1051.

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33

Ownby, Ted, and Joel Williamson. "William Faulkner and Southern History." Arkansas Historical Quarterly 53, no. 2 (1994): 236. http://dx.doi.org/10.2307/40038239.

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34

CAVENDISH, SUELI. "UM CONTO DE WILLIAM FAULKNER." Revista USP, no. 90 (August 30, 2011): 148. http://dx.doi.org/10.11606/issn.2316-9036.v0i90p148-163.

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35

Ho Thi Van, Anh. "Narrative of Color Line and “Double Consciousness” in William Faulkner’s Novels." Journal of Science Social Science 66, no. 3 (August 2021): 40–49. http://dx.doi.org/10.18173/2354-1067.2021-0045.

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Race is one of the major preoccupations in William Faulkner's novels. This article approaches this issue from the concept of “double consciousness” by W. E. B. Du Bois. Originally refered to African-American identity conflicts, the “double consciousness,” in this study, is expanded to stories of different skin colors including the white, black, and mullato. Given American literature of color line, this study aims to acknowledge the features of Faulkner's approach to the issue of race. Firstly, the writer interpreted and questioned American history, tracing the identity conflicts of different races in post-Civil War context. Second, he questioned the color line, to see racial prejudice as a crime, a curse that humanity must bear. However, Faulkner still could not get over the racial prejudices, which is driven by longstanding racial stereotypes in American culture and from the “double consciousness” of the very white-writer himself.

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36

Meerson, Olga A. "A Reply to Irina Lvova’s Article “Dostoevsky’s Motifs in William Faulkner’s Short Story Tomorrow”." Dostoevsky and World Culture. Philological journal, no. 2 (2022): 237–40. http://dx.doi.org/10.22455/2619-0311-2022-2-237-240.

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The paper contains a short reflection on the article by Irina Lvova “Dostoevsky’s Motifs in Faulkner’s Short Story Tomorrow”, published in the journal Dostoevsky and World Culture. Philological journal, no. 2 (18), 2022, pp. 227–236. The author points out an allusion to the Creed, unnoticed by Lvova, that partially corrects the correlation between the conceptions of Faulkner and Dostoevsky.

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37

Castille, Philip Dubuisson, Sally Wolff, and Floyd C. Watkins. "Talking about William Faulkner: Interviews with Jimmy Faulkner and Others." South Central Review 14, no. 2 (1997): 69. http://dx.doi.org/10.2307/3189949.

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38

Lvova, Irina V. "Dostoevsky’s Motifs in William Faulkner’s Short Story Tomorrow." Dostoevsky and World Culture. Philological journal, no. 2 (2022): 227–36. http://dx.doi.org/10.22455/2619-0311-2022-2-227-236.

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The article examines the reception of Fyodor Dostoevsky by William Faulkner through a comparative analysis on the material of his short story Tomorrow. It shows how the motifs of crime, punishment, suffering, and love are used in the story; the influence of Dostoevsky on their interpretation is analyzed. The typological similarity of the hero of Faulkner with the Christlike heroes of Dostoevsky is discussed.

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39

Nichols, Kenneth. "Case Study #1: A Rose for Emily by William Faulkner." Public Voices 13, no. 1 (November 18, 2016): 150. http://dx.doi.org/10.22140/pv.63.

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In “A Rose for Emily,” Faulkner discusses the relationship of the individual and thecommunity. So assume, for the time being, that you live in a modest town, possibly in Yoknapatawpha County somewhere in rural America. Not only are you a long-time member of the community, but you are also one of the several people who keep the town government operating smoothly. You might be the town’s clerk, its manager, or its mayor. Those townspeople are your friends and your neighbors as well as the public that you serve. The era might be the early 1900s, as it is here in “A Rose for Emily;” in certain respects, however, it could almost be today.Now with that frame of reference in mind, read William Faulkner’s short story.

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40

Bass, J. O. Joby. "William Faulkner and the Southern Landscape: A Geography of Faulkner's Mississippi." Journal of Historical Geography 36, no. 2 (April 2010): 238. http://dx.doi.org/10.1016/j.jhg.2010.02.016.

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41

Peiu, Anca. "The Frost in Faulkner: Walls and Borders of Modern Metaphor." Acta Universitatis Sapientiae, Philologica 10, no. 1 (October 1, 2018): 75–88. http://dx.doi.org/10.2478/ausp-2018-0005.

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AbstractMy paper discusses the dialogue between Robert Frost’s verse and William Faulkner’s works: from the first poems he published as a young writer, especially in his debut volume The Marble Faun (1924), to The Hamlet (1940), an acknowledged novel of maturity. Three world-famous poems: “Birches,” “Mending Wall,” “Nothing Gold Can Stay” will represent here Frost’s metaphorical counterpart. The allegorical borders thus crossed are those between Frost’s lyrical New England setting and the Old South of Faulkner’s Yoknapatawpha diegesis; between (conventional patterns of) Romanticism and Modernism – in both writers’ cases; between poetry and prose; between “live metaphor” and “emplotment” (applying Paul Ricoeur’s theory of “semantic innovation”); between (other conventional patterns of) regionalism and (actual) universality. Frost’s uniqueness among the American modern poets owes much of its vital energy to his mock-bucolic lyrical settings, with their dark dramatic suggestiveness. In my paper I hope to prove that Frost’s lesson was a decisive inspiration for Faulkner, himself an atypical modern writer. If Faulkner’s fiction is pervaded by poetry, this is so because he saw himself as a “poet among novelists.” Faulkner actually started his career under the spell of Frost’s verse – at least to the same extent to which he had once emulated the spirit of older and remoter poets, such as Keats or Swinburne.

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42

Zhang, Duan,. "AN ANALYSIS OF ABSALOM, ABSALOM! FROM THE PERSPECTIVE OF NEW HISTORICISM." Cultural Communication And Socialization Journal 1, no. 2 (October 12, 2020): 31–33. http://dx.doi.org/10.26480/ccsj.02.2020.31.33.

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New Historicism subverts the traditional binary opposition between literature and history, highlights the operation of “power” and “discourse” within texts, and explores two-way concerns for history and texts. Under the perspective of new historicism, this paper aims to interpret how HISTORICITY OF TEXTS and TEXTUALITY OF HISTORY are embodied in Absalom, Absalom! by William Faulkner. The paper concludes that, Faulkner’s resorting to literary creation, on one hand, reflects the history and on the other hand, highlights the reality, which realizes the interaction between literature and history.

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43

Canlı, Gülsüm, and Ayşe Banu Karadağ. "Retranslations of Faulkner’s Sanctuary in Turkish Literature." Advances in Language and Literary Studies 9, no. 3 (June 30, 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 Kutsal Sığınak (1961); then by Özar Sunar as Lekeli Günler (1967) and finally by Necla Aytür as Tapınak (2007). Among Faulkner’s fifteen books which have been translated into Turkish thus far, Sanctuary is the only one with three translations in total. The translational process will be described to understand the rationale behind translators’ decisions within the context of translation studies.

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44

JANSSENS, M. "Louis Paul Boon en William Faulkner." Spiegel der Letteren 39, no. 3 (December 1, 1997): 249–62. http://dx.doi.org/10.2143/sdl.39.3.2003801.

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45

Reid, Panthea, and James G. Watson. "William Faulkner: Self-Presentation and Performance." South Central Review 19, no. 1 (2002): 106. http://dx.doi.org/10.2307/3190042.

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46

Cohen, Milton A., and Lothar Honnighausen. "William Faulkner: The Art of Stylization." American Literature 61, no. 3 (October 1989): 496. http://dx.doi.org/10.2307/2926855.

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Knights, Pamela, and Philip M. Weinstein. "The Cambridge Companion to William Faulkner." Yearbook of English Studies 27 (1997): 314. http://dx.doi.org/10.2307/3509212.

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Singal, Daniel J., and Frederick R. Karl. "William Faulkner: American Writer. A Biography." Journal of American History 77, no. 2 (September 1990): 628. http://dx.doi.org/10.2307/2079198.

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Carmignani, Paul. "William Faulkner : à vue de nez." Revue Française d'Etudes Américaines 45, no. 1 (1990): 137–48. http://dx.doi.org/10.3406/rfea.1990.1397.

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Nicolaisen, Peter, and Daniel Göske. "William Faulkner in Germany: A Survey." Faulkner Journal 24, no. 1 (2008): 63–81. http://dx.doi.org/10.1353/fau.2008.0003.

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