Faulkner and Modernism: Rereading and Rewriting
University of Wisconsin Press, 1990 - 259 Seiten
Throughout his career Faulkner retold some of the same stories about some of the same events and characters, but retold them differently. For many years now these rewritings and revisions have been judged failures of craft. But Faulkner knew they were there and defended his discrepancies, associating them with learning about human character. Richard Moreland argues that these revisionary repetitions in fact constitute Faulkner's conscious critique of modernism. Moreland's readings of Absalom! Absalom!, The Hamlet, Go Down, Moses Requiem for a Nun and other works reveal Faulkner's explorations of both the motivations and consequences of modernism in the context of America's dominant discourses of class, race, gender and sexuality.
Nausea and Ironys Failing Distances
Willfulness and Ironys Other Voices
From Irony to Humor and Rage
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Ab's Absalom accept actually already ambivalence apparently articulate attempt authority becomes begin Bon's called chapter child Compson continuing critical cultural dead death denial deny desire door economy escape especially event example exchange exclusion face father Faulkner fear fiction finally Flem forced fright Hamlet hand Henry historical hope human humor ideal imagine innocence involvement ironic irony Judith kind later least less living look loss means modernist moral mourning Nancy narrative nature novel object oppositions particular past perhaps planter's position possibility Quentin Ratliff reading reality recognize repeated repetition represents resistance revision role Rosa Rosa's says scene seems sense social society society's South Southern speak story structure suffering suggests supposedly surprise Sutpen symbolic tell Temple tion trying turn understand victim violent voice writing
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