THAT EVENING SUN” If It Was Publicly Announced, Particularly If It Was Declared by the Black Woman As the Victim

Total Page:16

File Type:pdf, Size:1020Kb

THAT EVENING SUN” If It Was Publicly Announced, Particularly If It Was Declared by the Black Woman As the Victim Journal of English and Education, Vol. 5 No.1 - Juni 2011 A BLACK WOMAN CHARACTER'S TRAUMA IN miscegenation scandal and also that he had not paid her the sufficient money for the RACIST SOCIETY: A THOROUGH READING ON service. It was not something uncommon for white men in the South to take advantage of black women, yet this deed was not something that anyone could bear FAULKNER'S “THAT EVENING SUN” if it was publicly announced, particularly if it was declared by the black woman as the victim. His anger which was combined by his shame led him to punish Nancy Sri Sumaryani with his stringent and brutal conduct Yogyakarta State University Mr. Stovall knocked her down, but she kept on saying, 'When you going to pay me, white man? It's been three times now since“ until Mr. Stovall kicked her in the mouth with his heel and the marshal caught Mr. Stovall back, and ABSTRACT Nancy lying in the street, laughing. She turned her head and spat out some blood and teeth and said, “It's been three times now since he paid me a cent” This paper discusses a black woman character named Nancy in Faulkner's (Faulkner, 1950: 291). “That Evening Sun” who experiences trauma as the accumulation of her constant fear. The analysis is conducted by using Fanon's theory of Mr. Stovall defeated Nancy savagely to express his emotion and fear since psychological trauma in colonial society. The researcher used descriptive- Mr. Stovall's respectable positions as a cashier in the bank and a deacon in the qualitative method as it is a qualitative research in which data are Baptist church were harmed by Nancy's statement. His demeanor was the nonnumeric. The analysis examines Nancy's unconsciousness resulted in a expression of anger and fear. He was angry because Nancy dared to accuse him trauma. It also highlights Faulkner's technique to compare fear experienced publicly. He was also afraid that society would see him differently. However, by Blacks and Whites. society regarded that Nancy deserved to accept the punishment from Mr. Stovall Based on the analysis, Nancy's fear is sourced from her husband's harsh for Jefferson society only did minor action to prevent Mr. Stovall from knocking treatments because she is pregnant with a white man's child. Her husband's her down. After that, Nancy was dragged atrociously to the jail. violent treatments are the manifestation of his disappointment and anger towards his racist surroundings. Nancy's acute fear is worsened by her After considering the profession of Mr. Stovall and society's response surroundings' treatment that mostly consist of white Southerners and are towards his misdeed, it might be said there was hypocrisy in the Southern society. apathetic towards her fear. The crippling fear accumulates into trauma. Different from their brothers in the North, the Southern population was highly Faulkner's method to contrast the fear experienced by Whites and Blacks are regarded as religious community. However. Mr. Stovall's respectable profession as effective to show that the level of fear felt by Blacks is greater than that of a cashier did not hamper him from doing amorality. Moreover, being a Baptist Whites. Church deacon also did not prevent him from behaving atrociously towards other Key words: trauma, fear, racist human beings while the teaching of religion ordered its members to behave equally. It would be completely contrasting if the victim of the abuse was a white INTRODUCTION woman and the doer was a black man. The black man would be for sure accepting more severe punishment from the society than the white woman. It was very likely Racism in the Southern United Sates that the black man would be lynched and the case never went into trial. This is how The history of the United States of America cannot be separated from racism racial prejudice as an ideology was implemented in the South. Racial prejudice was th issue. The struggle to gain independence from Britain in the 18 century led to the the base of all conducts if it involved Blacks and Whites. Whites, no matter they freedom of the land and self from colonization. However, the freedom was not were right or wrong, women or men, got protection while Blacks must be on the 104 117 Journal of English and Education, Vol. 5 No.1 - Juni 2011 Journal of English and Education, Vol. 5 No.1 - Juni 2011 answer to Nancy proves that the Whites are never interested in the lives of the possessed by all people. The independence was merely owned by Whites or most Blacks. They merely considered them as objects and did not want to involve in notably known as the WASP (White Anglo-Saxon Protestants), a group of people their lives. It was different from the reaction shown by Dilsey, another black whose descendants were originally from Europe. Blacks from African descendants servant working for Compson's family, when she knew that Nancy began to did not have the same felicity as the first group. Their access to some basic rights collapse due to her own fear. Dilsey took care of Nancy. She made sure that Nancy like economics and life was limited prior and even long after the independence was received complete attention and offered to accompany her going back to her cabin. declared in 1776. Slavery which is regarded as a firm institution hampered Blacks from gaining the proper living. The difference of treatments between these two races irritated some Whites who concerned with Blacks and craved for the same Fear Felt by Blacks and Whites in Jefferson treatments. The demand put the heat on the defenders of the slavery. It reached the Faulkner used his aptitude to contrast the fear felt by the Blacks and Whites peak on the Civil War that lasted from 1861-1865. The era noted the simmering in the story in order to point out that the effect and cause of fear for Blacks was tension between the Northern and Southern United States (McNeese, 2010: 24). greater compared to the Whites. Fear in Jefferson is not solely owned by Blacks. The first one opposed slavery while the second one was consistent in maintaining it. Whites also experienced the same feeling although the kind, cause, and degree are The division of arguments between the two regions upon slavery was not different from that of the Blacks. Mrs. Compson had fear. Mr. Stovall had fear. solely driven by human rights principles. It was more on economic motivations. Even the children also had fear. The Northern depended on industrial based economy while their brothers in the Mrs. Compson felt afraid of her solitude for her husband and children used South remained entirely rural. Southerners relied on their life on agriculture. to leave her to accompany Nancy going home. The feeling of jealousy was also (McPherson, 1988:354). The vast plantation of cotton and tobacco were the main slightly inserted in the fear since Nancy was also a woman. Moreover, she was products and this rural industry required large numbers of slaves. Slaves were pregnant with a white man's child. As a woman whose husband was a master of the cheap labors because they were treated like goods. Slave trade was considered black woman whom he always accompanied, Mrs. Compson was afraid that her usual at that time. Moreover, slaves' descendents followed the status of their husband would take advantage of Nancy. Therefore, there were some occasions in parents. The morality and economic competition motivated the confrontation that the story when Mrs. Compson attempted to prevent her husband from lasted for five years in the Civil War. Apart from the war, the lives of Blacks in the accompanying Nancy, “You'll leave me alone, to take Nancy home? Mother said. South as the slavery based region did not technically change much even after the “Is her safety more precious to you than mine?” (Faulkner, 1950: 293). The 13th Amendment which banned slavery practice was imposed in 1865. expression was a mix of anger, jealousy, and fear. Mrs. Compson finally decided to Slavery was not a peculiar practice in the South. It was a strong institution permanently stop her husband and children from taking her home by saying, “How and inseparable from the life of the Southerners. Through centuries, slavery much longer this going to go on? I to be left alone in this big house while you take remained as a rigid social institution which classified the life of Whites and Blacks home a frightened Negro?”(Faulkner, 1950: 296). Mrs. Compson's last try was a as masters and slaves. Slavery is a perfect tool to implement racism because the reflection of her absolute concern to save her family from shame that might lives of Blacks were dependent on their masters and the dependency created the happen. Therefore, although she knew that Nancy was completely occupied by her power to rule Blacks as the more inferior group. It goes accordingly with the dread, she chose not to take any slightest care towards her life since for a prominent principal of racism which is the doctrine about the division of respectable family like hers, dealing with the lives of Blacks means nothing. population's category based on physical differences. The emergence of superiority As a white man, Mr. Stovall was also petrified when Nancy started to fill the feeling as a consequence of racism practice will be followed by the inception of town's street by her accuse to him of not paying her adequate amount of money inferior group.
Recommended publications
  • The Blind Man, the Idiot, and the Prig: Faulkner's Disdain for the Reader
    THE BLIND MAN, THE IDIOT,AND THE PRIG: FAULKNER’S DISDAIN FOR THE READER1 GENE C. FANT, JR. William Faulkner’s disdain for the reader surfaces in his narrative approach in three novels: Sanctuary, The Sound and the Fury, and Absalom, Absalom! Frustrated with the failure of contemporary critics and general readers to wrestle with his style, he asserts authorial power over his audience. Three particular characters come to symbolize, in part, the general reader. In Sanctuary, Faulkner undermines the senses, leading the reader to identify with the blind-deaf-mute, Pap Goodwin. In The Sound and the Fury, the reader’s demands for narrative order find a parallel in the idiot Benjy Compson. In Absalom, Absalom!, Faulkner depicts the overactive reader in the priggish Shreve McCannon, who reshapes the story. Each character pro- vides insight into the total dependence of the audience upon the narrator and the overall epistemological ramifications of narrative itself. By 1928, William Faulkner was an experienced novelist, with Soldier’s Pay and Mosquitoes published and a third completed manuscript (which became Sartoris), under his authorial belt. His experiences as a novelist, however, frus- trated him as his sales lagged and his critical reception proved underwhelming. He felt underappreciated and misunderstood, as his own recollections give evidence.2 When Faulkner wrote The Sound and the Fury and Sanctuary, the two major works of 1928–29, he made a step in his approach to writing that ele- vated his prose: he stopped writing for the “ideal” reader, regardless of the con- sequences. Up until that time, Faulkner had taken a fairly traditional approach to relating a story with fairly ordered plots and narrative points of view.
    [Show full text]
  • In the Sound and the Fury, Benjy Compson Most Likely Suffers from Autism
    1 In The Sound and the Fury, Benjy Compson Most Likely Suffers from Autism Patrick Samway, S.J. Gentry Silver Stating that Benjy Compson most likely suffers from autism in The Sound and the Fury introduces methodological concerns never before seen in Faulkner criticism, insofar as ongoing information concerning an actual neurological disorder is used to diagnose a completely fictional character. To a great extent, the possibility of such a diagnosis supposes Benjy to be a genuine candidate for a neurological/psychological case study, a supposition that, admittedly, needs to remain speculative, but which nevertheless has value in identifying more exactly why he acts as he does. As in any neurological/psychological case study, a review of earlier opinions by literary critics can bring to light how Benjy has been perceived to date, which, when linked with precise textual evidence from the novel and recent neurological theories, will allow for a more coherent explanation of his condition. Given His Physical Condition and Mental Limitations, Should Benjy Be Called an “Idiot” or Would “Autistic” Be More Appropriate? Due in large part to the “idiotic” or “lunatic” ways in which Benjy perceives and relates the world around him, literary critics and Faulkner himself have preferred to call Benjy an idiot, though they often discuss the nature of his idiocy in different ways (see, for example, The Most Splendid Failure, 67, 71, 88, 178- 9; “The Ordeal of Consciousness,” 175; “Nihilists and Their Relations,” 93; “Faulkner, Childhood, and the Making of The Sound and the Fury,” 381; “Idiocy and Idealism,”101; “‘Where you want to go now’,” 4; Faulkner’s Inexhaustible Voice, 171; “Searching for Jason Richmond Compson,”185 ; The Fool: Character as Technique in the Novels of William Faulkner, 51; “‘Trying to Say’,” 40; “A propos de ‘Le Bruit et la Fureur’,”1058).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • A Study of Faulkner's Religious Critical Thought Based on the Image of Black Women
    2019 5th International Conference on Economics, Management and Humanities Science (ECOMHS 2019) A Study of Faulkner's Religious Critical Thought Based on the Image of Black Women Shi Qin Shanghai Open University Chongming Branch, Shanghai, China Keywords: Faulkner; religion outlook; black female; image-building; Southern Renaissance Abstract: In the 20th century, the famous American writer William Faulkner grew up in the "Bible Belt" of the southern United States. Due to the influence of religious and cultural environment, Faulkner infiltrated a strong religious color into his works, reflecting his complex diversity of religious thoughts. As a representative of the southern Renaissance, Faulkner created numerous black female images in different periods. Through attention and characterization of the black women at the bottom of the southern society under the white rule, he reveals the fact that the southern religion and the decayed and evil old southern cultural tradition are mutually integrated and accelerate the collapse of the old south. This paper studies and interprets the artistic depiction of the special group of black women, which is the artistic expression of Faulkner's critical thoughts of southern religion and his humanitarian spirit in the southern Renaissance. 1. Introduction William Faulkner was a famous American writer in the 20th century and an outstanding representative of southern literature. In 1950, he won the Nobel Prize for literature for his "powerful and unique artistic contribution to the American novel". Faulkner, who grew up in the southern United States with a strong religious culture, integrated the ubiquitous religious elements in his series of novels of Yoknapatawpha, the representative of his highest artistic achievement.
    [Show full text]
  • Bad Blood: the Southern Family in the Work of William Faulkner
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 Bad Blood: The outheS rn Family in the Work of William Faulkner Neil T. Phillips University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the English Language and Literature Commons Phillips, Neil T., "Bad Blood: The outheS rn Family in the Work of William Faulkner" (2011). Masters Theses 1911 - February 2014. 706. Retrieved from https://scholarworks.umass.edu/theses/706 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. BAD BLOOD: THE SOUTHERN FAMILY IN THE WORK OF WILLIAM FAULKNER A Thesis Presented by NEIL T. PHILLIPS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of Master of Arts September 2011 Department of English BAD BLOOD: THE SOUTHERN FAMILY IN THE WORK OF WILLIAM FAULKNER A Thesis Presented By NEIL T. PHILLIPS Approved as to style and content by: ________________________________________________ Arthur Kinney, Chair ________________________________________________ Randall Knoper, Member ________________________________________________ Nicholas Bromell, Member ___________________________________________________ Joseph Bartolomeo, Department Head English Department DEDICATION INTERVIEWER: Some people say they can’t understand your writing, even after they read it two or three times. What approach would you suggest to them? FAULKNER: Read it four times. -William Faulkner with Jean Stein The Paris Review, Spring, 1956. ABSTRACT BAD BLOOD: THE SOUTHERN FAMILY IN THE WORK OF WILLIAM FAULKNER SEPTEMBER 2011 NEIL T.
    [Show full text]
  • My Life with Faulkner and Brodsky
    A Tribute to L. D. Brodsky: Excerpts from My Life with Faulkner and Brodsky Robert W. Hamblin On a Saturday morning in March 1978, I drove down a hallway to a conference room where we took to Farmington, Missouri, a little more than an hour’s seats at a long table. We talked for a while about our drive northwest of Cape Girardeau, to meet with Louis mutual interest in Faulkner; then he excused himself and Daniel Brodsky. L. D. had instructed me to meet him in left the room. When he returned he held a large safe- the lobby of the Mercantile Bank on the town square. I deposit box. He placed it on the table, opened it, reached arrived a little early and took a seat that offered a good inside, and lifted an object delicately wrapped in soft, view of the front door. I wondered what this Faulkner white tissue paper. I was quite impressed when he collector would look like, how old he was, whether I removed the wrapping and laid the book before me on could guess his identity when he entered the bank. the table. It was a first edition of The Sound and the I didn’t have to wait long, and I knew it was he Fury. L. D. opened the book to the title page, on which I as soon as he stepped inside the door. He was of medium saw, in small, meticulous handwriting, Faulkner’s height, muscularly built, with alert, friendly eyes and personal signature. I had never seen a first edition of long, curly brown hair.
    [Show full text]
  • The Case of William Faulkner
    ZSOLT VIRÁGOS THE SHORT STORY AS INTERTEXTUAL SATELLITE: THE CASE OF WILLIAM FAULKNER In a short story that’s next to the poem, almost every word has got to be almost exactly right. In the novel you can be careless but in the short story you can’t. ——William Faulkner (1957) To me she was the beautiful one, she was my heart’s darling. That’s what I wrote the book about… ——William Faulkner (1957) [1] An open-ended, revisable quality Despite the fact that he did mass-produce short stories on occasion, mainly for financial reasons, few twentieth-century modernists were as sophisticated in their short-prose technique and narrative depth as William Faulkner. This sophistication may be due, among several other factors, to his particular brand of a “process aesthetic.” The publishing history of Faulkner’s long and short prose fiction clearly documents his conviction that narratives should always be open to further revision, that they are never complete or finished. This aesthetic, variably practiced by such well-known predecessors as Poe and Whitman, is most clearly manifested in Faulkner’s revisiting and recasting of thematic units in new guises. These repeated tellings have 93 coalesced into distinct novel-plus-short-story clusters in the Faulkner canon, with the symbiotic components of the clusters signifying upon each other. We find, in other words, that Faulkner was, in a sense, often retelling. He kept returning to a vision not quite perfectly apprehended, he tended to brood over his material and approached a subject, a character, a type figure, an emotion-laden symbol repeatedly from different points of view for the purposes of fictional “corrections” or of adding further perspectives.
    [Show full text]
  • Finding Aid for the Faulkner Periodicals Collection (MUM00161)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Faulkner Periodicals Collection (MUM00161) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Faulkner Periodicals Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. Finding Aid for the Faulkner Periodicals Collection (MUM00161) Questions? Contact us! The Faulkner Periodicals Collection is open for research. Finding Aid for the Faulkner Periodicals Collection Table of Contents Descriptive Summary Administrative Information Subject Terms Collection History Scope and Content Note User Information Related Material Arrangement Container List Descriptive Summary Title: Faulkner Periodicals Collection Dates: 1930-1997 Collector: Wynn, Douglas C. ; Wynn, Leila Clark ; University of Mississippi. Dept. of Archives and Special Collections Physical Extent: 27 full Hollinger boxes ; 6 half boxes ; 1 oversize box ; 22 cartons (35.85 linear feet) Repository: University of Mississippi. Department of Archives and Special Collections. University, MS 38677, USA Identification: MUM00161 Language of Material: English Abstract: Collection of magazine and newspaper articles written by or concerning William Faulkner and University of Mississippi Yearbooks referencing Faulkner. Administrative Information Processing Information Collections processed by Archives and Special Collections staff. Series III-IV, Periodicals by Faulkner and Periodicals about Faulkner, originally processed by Jill Applebee and Amanda Strickland, August-September 1999. Multiple collections combined into single finding aid and encoded by Jason Kovari, August 2009.
    [Show full text]
  • WILLIAM FAULKNER, Collected Stories
    WILLIAM FAULKNER Collected Stories Contents I. THE COUNTRY Barn Burning Shingles for the Lord The Tall Men A Bear Hunt Two Soldiers Shall Not Perish II. THE VILLAGE A Rose for Emily Hair Centaur in Brass Dry September Death Drag Elly Uncle Willy Mule in the Yard That Will Be Fine That Evening Sun III. THE WILDERNESS Red Leaves A Justice A Courtship Lo! IV. THE WASTELAND Ad Astra Victory Crevasse Turnabout All the Dead Pilots V. THE MIDDLE GROUND Wash Honor Dr. Martin Fox Hunt Pennsylvania Station Artist at Home The Brooch Grandmother Millard Golden Land There Was a Queen Mountain Victory VI. BEYOND Beyond Black Music The Leg Mistral Divorce in Naples Carcassonne I THE COUNTRY Barn Burning Shingles for the Lord The Tall Men A Bear Hunt Two Soldiers Shall Not Perish Barn Burning THE STORE in which the Justice of the Peace's court was sitting smelled of cheese. The boy, crouched on his nail keg at the back of the crowded room, knew he smelled cheese, and more: from where he sat he could see the ranked shelves close-packed with the solid, squat, dynamic shapes of tin cans whose labels his stomach read, not from the lettering which meant nothing to his mind but from the scarlet devils amid the silver curve of fish this, the cheese which he knew he smelled and the hermetic meat which his intestines believed he smelled coming in intermittent gusts momentary and brief between the other constant one, the smell and sense just a little of fear because mostly of despair and grief, the old fierce pull of blood.
    [Show full text]
  • William Faulker's Use of Memory and Imagination
    “NOT GONE OR VANISHED EITHER:” WILLIAM FAULKNER’S USE OF MEMEORY AND IMAGINATION By Kevin Daniel Gleason A Thesis Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements for the Degree of Master of English The University of Tennessee at Chattanooga Chattanooga, Tennessee May 2011 ii Copyright © 2011 By Kevin Daniel Gleason All Rights Reserved iii ABSTRACT This thesis examines the role that memory and imagination play in three of William Faulkner’s novels: The Sound and the Fury, Absalom, Absalom! and The Unvanquished. While most scholars perceive Faulkner’s characters as burdened, debilitated, and destroyed by the past, I argue that Faulkner presents a wide spectrum of engagement with the past which includes the potential for memory to serve as a tool of redemption and power. Henri Bergson’s notion of the fluidity of all time past, present, and future forms the center of Faulkner’s understanding of time, and in this paradigm, Faulkner’s characters are capable of creating and re-creating their pasts through memory and projecting their futures through imagination. In emphasizing Dilsey’s role as a rememberer in The Sound and the Fury, Shreve’s role as an imaginer in Absalom, Absalom!, and Bayard Sartoris’s role as defeater of his cultural and familial past in The Unvanquished, I demonstrate that while Faulkner does present memory and imagination as harmful forces, he also illustrates their potential for preservation and redemption. iv DEDICATION I would like to dedicate this thesis to my wife, Kathleen Gleason, who supported and encouraged me through every step of the process.
    [Show full text]
  • V 9/C/ Ajo.Tycly
    37? /V 9/c/ AJo.tyclY MYTHS, HIEROPHANIES, AND SACRAMENTS IN WILLIAM FAULKNER'S YOKNAPATAWPHA FICTION DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David H. Zimmermann, B.A., M.T.S., M.A. Denton, Texas May, 1995 37? /V 9/c/ AJo.tyclY MYTHS, HIEROPHANIES, AND SACRAMENTS IN WILLIAM FAULKNER'S YOKNAPATAWPHA FICTION DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David H. Zimmermann, B.A., M.T.S., M.A. Denton, Texas May, 1995 s Zimmermann, David H., Myths, Hierophanies, and Sacraments in William Faulkner's Yoknapatawpha Fiction. Doctor of Philosophy (English), May, 1995, 261 pp., bibliography 209 titles. Critical reactions to the religious experiences contained in William Faulkner's fiction have tended to fall within the context of traditional Christian belief systems. In most instances, the characters' beliefs have been judged by the tenets of belief systems or religions that are not necessarily those on which the characters base their lives. There has been no effort to understand the characters' spirituality as the basis of an independent religious belief system. Mircea Eliade's methods and models in the study of comparative religion, in particular his explanation of the interaction of the sacred and the profane during a hierophany (the manifestation of the sacred), can be applied to the belief systems of Faulkner's characters to reveal the theologies of the characters' religions, the nature of the belief systems on which they base their lives.
    [Show full text]