William Faulkner
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A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
View of Time?
I SEE, HE SAYS, PERHAPS, ON TIME: VISION, VOICE, HYPOTHETICAL NARRATION, AND TEMPORALITY IN WILLIAM FAULKNER’S FICTION DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David S. FitzSimmons, B.A., M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor James Phelan, Adviser Professor Jared Gardner ______________________ Adviser Professor Jessica Prinz Department of English Copyright by David S. FitzSimmons 2003 ABSTRACT This study examines four narrative techniques in William Faulkner’s fiction in order to accomplish two things: 1) see what applying contemporary narrative theory to Faulkner can tell us about his narratives; and 2) see how examining Faulkner’s narratives can cause us to revise or extend concepts in narrative theory. In other words, the study establishes a recursive relationship between Faulkner’s fiction and narrative theory, one in which each subject matter can illuminate the other. The four narrative techniques examined include shifts in focalization, shifts in voice, hypothetical narration, and representations of time. Each chapter examines background theory, gives examples of the technique, offers explication of the technique, and analyzes the technique’s effects. The first chapter takes “Barn Burning” as its main example and looks at how to identify shifts in focalization (vision), develops a model of layers of focalization, and investigates their effects. Chapter two focuses on As I Lay Dying and “Old Man” and examines narrative voice, works at defining voice, distinguishes conventional markers of narrative voice from voice features, and explores the effect of narrative voice. -
A Modern Tragedy
“WONDER. GO ON AND WONDER”: QUENTIN’S TRAGEDY FROM THE SOCIOLOGICAL PERSPECTIVE by Huang Min 黄 敏 A Dissertation Presented to The Graduate School of Language, Communication, and Culture Kwansei Gakuin University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy March 2013 Doctor of Philosophy Dissertation “Wonder. Go on and wonder”: Quentin’s Tragedy from the Sociological Perspective by Huang Min Members of Evaluation Committee Major Advisor: Associate Advisor: Associate Advisor: Associate Advisor: i ABSTRACT “Wonder. Go on and wonder”: Quentin’s Tragedy from the Sociological Perspective by Huang Min A major hero in the works of William Faulkner, Quentin Compson used to be one of the most frequently commented characters. Regarding his death, there are a variety of critical opinions. Yet very few critical works have devoted to a thorough study of Quentin’s tragedy. The result is that voices on this issue are presented within the different concerns of critics and tend to overstress one aspect of the problem. The diversified opinions contribute much to the unsettled argument and the complexity of Quentin’s death itself. For want of a better argument, the critical world has paid considerably less attention to Quentin’s suicide over the last 30 years. My dissertation has tried to approach Quentin’s tragedy in a more systematic and consistent way by the adaptation of a sociological perspective, which has seen the accumulation of well-defined studies on ii the problem of suicide since Sociologist Durkheim’s monumental book Suicides published well over a century ago. It is from this discipline of social science that the present paper gains a theoretical framework for laying down the fundamental questions regarding Quentin’s death, in an attempt to objectively define and examine the development of his character and suicidal mentality. -
A Rose for Emily”1
English Language & Literature Teaching, Vol. 17, No. 4 Winter 2011 Narrator as Collective ‘We’: The Narrative Structure of “A Rose for Emily”1 Ji-won Kim (Sejong University) Kim, Ji-won. (2011). Narrator as collective ‘we’: The narrative structure of “A Rose for Emily.” English Language & Literature Teaching, 17(4), 141-156. This study purposes to explore the narrative of fictional events complicated by a specific narrator, taking notice of his/her role as an internal focalizer as well as an external participant. In William Faulkner's "A Rose for Emily," the story of an eccentric spinster, Emily Grierson, is focalized and narrated by a townsperson, apparently an individual, but one who always speaks as 'we.' This tale-teller, as a first-hand witness of the events in the story, details the strange circumstances of Emily’s life and her odd relationships with her father, her lover, the community, and even the horrible secret hidden to the climactic moment at the end. The narrative 'we' has surely watched Emily for many years with a considerable interest but also with a respectful distance. Being left unidentified on purpose, this narrative agent, in spite of his/her vagueness, definitely knows more than others do and acts undoubtedly as a pivotal role in this tale of grotesque love. Seamlessly juxtaposing the present and the past, the collective ‘we’ suggests an important subject that the distinction between the past and the present is blurred out for Emily, for whom the indiscernibleness of time flow proves to be her hamartia. The focalizer-narrator describes Miss Emily in the same manner as he/she describes the South whose old ways have passed on by time. -
William Faulkner and George Washington Harris: Frontier Humor in the Snopes Trilogy
WILLIAM FAULKNER AND GEORGE WASHINGTON HARRIS: FRONTIER HUMOR IN THE SNOPES TRILOGY by Hugh M. Stilley B.A., University of Southern California, 196l A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Engli sh We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, I964 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives,, It is understood that copying or publi• cation of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia Vancouver 8, Canada Date September 3. 1965. ABSTRACT The influence of the pre-Civil War Southwestern humorists on the work of William Faulkner has long been hypothesized. But it has received scant critical attention, much of it erroneous or so general as to be almost meaningless. While Faulkner's total vision is more than merely humorous, humor is a significant part of that vision. And the importance of frontier humor to Faulkner's art is further substantiated by the fact that many of his grotesque passages derive from ele• ments of this humor. Frontier humor flourished from I83O to I860, and while a large group of men then flooded American newspapers with contributions, it now survives in anthologies and the book- length collections of its most prominent writers — Augustus Baldwin Longstreet, Joseph Glover Baldwin, Johnson Jones Hooper, William Tappan Thompson, Thomas Bangs Thorpe, and George Washington Harris. -
Convert Finding Aid To
Carvel Collins: An Inventory of His Collection of William Faulkner Research Materials at the Harry Ransom Center Descriptive Summary Creator: Collins, Carvel, 1912-1990 Title: Carvel Collins Collection of William Faulkner Research Materials Extent: 111 record cartons, 3 oversize boxes (114 linear feet) Abstract: The Carvel Collins Collection of William Faulkner Research Materials contains materials on Faulkner’s life and career assembled by Collins for an intended biography. Call Number: Manuscript Collection MS-1366 Language: English Access: Open for research. Part or all of this collection is housed off-site and may require up to three business days notice for access in the Ransom Center’s Reading and Viewing Room. Please contact the Center before requesting this material: [email protected]. Administrative Information Acquisition: Gifts 1993-1995 (G10330) Processed by: Kevin O’Sullivan, 2010 Repository: The University of Texas at Austin, Harry Ransom Center Collins, Carvel, 1912-1990 Manuscript Collection MS-1366 Separated Material Sound Recordings were transferred to the Ransom Center's Sound Recording collection and are described individually in a list at the end of this finding aid and in a searchable database 2 Collins, Carvel, 1912-1990 Manuscript Collection MS-1366 Research Materials Abodes Container 1.1 Absalom, Absalom! Container 1.2-3 Acknowledgements Container 1.4-6 Adam’s, R. P. Container 1.7 Aiken, Conrad Container 1.8 Allusions to F. Container 1.9 Alcohol Container 1.10 Anderson, Elizabeth Container 1.11 Anderson, Sherwood Container 1.12 Anthony, Mrs. Marc Container 1.13 As I Lay Dying Container 1.14, 2.1-2 Attorneys Container 2.3 Autobiographical statements by F. -
An Annotated Bibliography of William Faulkner, 1967-1970
Studies in English Volume 12 Article 3 1971 An Annotated Bibliography of William Faulkner, 1967-1970 James Barlow Lloyd University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/ms_studies_eng Part of the American Literature Commons Recommended Citation Lloyd, James Barlow (1971) "An Annotated Bibliography of William Faulkner, 1967-1970," Studies in English: Vol. 12 , Article 3. Available at: https://egrove.olemiss.edu/ms_studies_eng/vol12/iss1/3 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English by an authorized editor of eGrove. For more information, please contact [email protected]. Lloyd: Faulkner Bibliography An Annotated Bibliography of William Faulkner, 1967—1970 by James Barlow Lloyd This annotated bibliography of books and articles published about William Faulkner and his works between January, 1967, and the summer of 1970 supplements such existing secondary bibliog raphies as Maurice Beebe’s checklists in the Autumn 1956 and Spring 1967 issues of Modern Fiction Studies; Linton R. Massey’s William Faulkner: “Man Working” 1919-1962: A Catalogue of the William Faulkner Collection of the University of Virginia (Charlottesville: Bibliographic Society of the University of Virginia, 1968); and O. B. Emerson’s unpublished doctoral dissertation, “William Faulkner’s Literary Reputation in America” (Vanderbilt University, 1962). The present bibliography begins where Beebe’s latest checklist leaves off, but no precise termination date can be established since publica tion dates for periodicals vary widely, and it has seemed more useful to cover all possible material than to set an arbitrary cutoff date. -
Faulkner's Ethics
Faulkner’s Ethics “Michael Wainwright’s reassessment of William Faulkner’s major works in relation to the ethics of Henry Sidgwick and Jacques Derrida—with support from game theory and psychoanalysis—is original, perceptive, and timely. Wainwright pro- vocatively refgures Faulkner’s corpus in the light of these hitherto disparate philo- sophical trajectories, and in doing so acquaints the philosophers with one another in ways which are lucid and suggestive. Faulkner’s Ethics: An Intense Struggle rep- resents a serious challenge to extant Faulkner scholarship.” —Niall Gildea, Author of Jacques Derrida’s Cambridge Affair: Deconstruction, Philosophy and Institutionality (2019) “Early Faulkner criticism often followed the trajectory of Faulkner’s life, some- times simply assuming that life had a moral compass. Later schools, for example historical materialism, sought the ‘substratum’ of material reality that underpinned the narrative, again only assuming that issues, such as the nature and economics of labor, had moral implications. Psychology, anthropology, mythology—all have had their day, often very useful days, often touching on ethical issues—but what has been lacking is ethics itself. Michael Wainwright’s Faulkner’s Ethics: An Intense Struggle will end that neglect and, I believe, spur a new interest in moral struggle, moral direction as it can be found in Faulkner’s life and literature.” —Charles A. Peek, Professor Emeritus, Department of English, University of Nebraska Kearney Michael Wainwright Faulkner’s Ethics An Intense Struggle Michael Wainwright Department of English Royal Holloway University of London Egham, UK ISBN 978-3-030-68871-4 ISBN 978-3-030-68872-1 (eBook) https://doi.org/10.1007/978-3-030-68872-1 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2021 This work is subject to copyright. -
“The National Voice” Across the Bayard and Ringo Stories
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE POPULAR FAULKNER: THE DEVELOPMENT OF “THE NATIONAL VOICE” ACROSS THE BAYARD AND RINGO STORIES A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF ARTS By WILLIAM WILDE JANUARY VI Norman, Oklahoma 2018 POPULAR FAULKNER: THE DEVELOPMENT OF “THE NATIONAL VOICE” ACROSS THE BAYARD AND RINGO STORIES A THESIS APPROVED FOR THE DEPARTMENT OF ENGLISH BY ______________________________ Dr. James Zeigler, Chair ______________________________ Dr. Daniela Garofalo ______________________________ Dr. William Henry McDonald © Copyright by WILLIAM WILDE JANUARY VI 2018 All Rights Reserved. To Claire, as a monument to our adventure in Oklahoma. Acknowledgements This project is in many ways the culmination of everything I have done before, and thus it is necessary to acknowledge everyone I have had the pleasure to have known the past three years in the University of Oklahoma English Department: faculty, staff, and my fellow graduate students. In particular, I would like to thank both Dr. McDonald and Dr. Garofalo for not only serving on my committee, but for teaching seminars so influential that they changed the way that I viewed the world and, subsequently, my future plans. In a similar vein, I would like to thank Dr. John Burke and Dr. William Ulmer at the University of Alabama, as I would have never even been here without their part in shaping my formless undergraduate curiosity into the more disciplined inquisitiveness of a scholar. Most of all, I am indebted to my Chair, Dr. James Zeigler, who has over the past three years listened carefully to every road not taken by this work, and always provided clear, helpful feedback as well as a sense of positivity that has made all the difference in its completion. -
William Faulkner I 89 7-19 62
WILLIAM FAULKNER I 89 7-19 62 Faulkner was born in New Albany, Mississippi, to a family that had once included wealthy and pow- erful people ruined by the Civil Var. His great- grandfather was a popular novelist, and this ancestor served, like other family members, as a model from whom Faulkner drew traits used in composing the characters in his fiction. He attended the Universiry of Mississippi in Oxford before and after his service in the Royal Canadian Air Force in World Var I. Thereafter, he lived in Oxford for most of his life, though he spent much time in Hollywood as a screenwriter. It was in New Orleans, though, that his literary career began' There he met Sherwood Anderson, who encour- aged him ro rurn from poetry to fiction and helped him get his first novel published. His lifetime's work, which eventually won Faulkner a Nobel Ptize in 1950, is largely a depiction of life in his fictional Yoknapatawpha County, an imaginative reconstruction of the area adlacent to Oxford. Faulkner was a Pas- sionately devoted hunter, and his love of the disappearing wilderness is expressed in many of his tales. He soughr our rhe honor and courage of people thwarted by circumstance, and the sum of his writing testifies to his faith that these virtues will prevail despite the corruptions of modern life. His major novels *ere irostly the product of a prodigious decade of creative effort. They include The Sound and the Furl (1929), As I Lajt DYing (1930), sanctuaryr (1931), Light in Augwst (1932), Absalom, Absalom! (1,936),Wild Palms (1939), and The Ham- tet (Ig40). -
Silent Films, Hollywood Genres, and William Faulkner
SILENT FILMS, HOLLYWOOD GENRES, AND WILLIAM FAULKNER -Somdatta Mandal Much of the research concerning William Faulkner’s relationship to film focuses on the writer’s experience as a scriptwriter during the 1930s and 1940s, perhaps assuming that Faulkner’s serious interest in film began only with his arrival in Hollywood in 1932. But as Jeffrey J. Folks1 has pointed out, silent film had comprised a significant part of available popular entertainment in Oxford during Faulkner’s youth and according to Murray Falkner, Faulkner is said to have attended silent films regularly, as often as twice a week. John Faulkner says that after movies came to Oxford, which would have been about 1913, he and ‘Bill’ went every Friday - and would have gone oftener had they been allowed to.2 Though it is not possible to determine exactly what films Faulkner might have seen in the first years of film showings, the standard features certainly consisted, to a large extent of Westerns, melodramas and comedies. One may assume that among performers featured were Mary Pickford, Lilian Gish, Charles Chaplin, Buster Keaton, Harry Langdon and Fatty Arbuckle. The many Westerns that Murray Falkner recalled having seen with his brother William, may well have featured Tom Mix, William S. Hart, and Broncho Billy (G.M.Anderson) as well as many lesser known performers. Faulkner seems to have had the normal introduction to this aspect of American culture, though as an adult he may have had less contact with it. As mentioned earlier, Faulkner’s extensive knowledge of the silent film is evident from the many references to it in his fiction. -
Indians, Environment, and Identity on the Borders of American Literature
INDIANS, ENVIRONMENT, AND IDENTITY ON THE BORDERS OF AMERICAN LITERATURE Lindsey Claire Smith A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English. Chapel Hill 2006 Approved by Advisor: Gretchen Bataille Advisor: Trudier Harris Reader: Linda Wagner-Martin Reader: Maria DeGuzman Reader: Valerie Lambert © 2006 Lindsey Claire Smith ALL RIGHTS RESERVED ii ABSTRACT Lindsey Claire Smith: INDIANS, ENVIRONMENT, AND IDENTITY ON THE BORDERS OF AMERICAN LITERATURE (Under the direction of Gretchen Bataille and Trudier Harris) This dissertation foregrounds boundary crossing among American Indians, African Americans, and Euramericans as a central feature of American literature. The authors discussed, including James Fenimore Cooper, William Faulkner, Toni Morrison, Alice Walker, and Leslie Marmon Silko, place this cross-cultural contact in nature, not only collapsing cultural and racial boundaries, but also complicating divisions between “wilderness” and “civilization.” Responding to contemporary theoretical approaches to race, culture, and nationhood, this dissertation points toward the multiple perspectives and cultures that distinguish American literature as well as highlights the role of geography in these critical discourses, forging a connection between ecological theory and ethnic studies. Whereas Euramerican writers demonstrate multi-racial coexistence on the frontier as idyllic yet fleeting due to national expansion, African American and Native writers reverse this model, identifying Black-Indian alliance as the source of resistance to colonization and environmental degradation. This study thereby probes the prominent roles that American Indians occupy in major American novels, not only as emblems of ecological acumen, but more important, as participants in cultural exchange that informs American identity.