Faulkner's narrative poetics: style as vision by Arthur F. Kinney

By Arthur F. Kinney

The impressive French philosopher Simone Weil is without doubt one of the prime highbrow and non secular figures of the 20th century. A mythical essayist, political thinker and member of the French resistance, her literary output belied her tragically brief existence. such a lot of her paintings was once released posthumously, to frequent acclaim. continuously excited about the character of person freedom, Weil explores in Oppression and Liberty its political and social implications. examining the factors of oppression, its mechanisms and types, she questions innovative responses and offers a prophetic view of a fashion ahead. If, as she famous somewhere else, 'the destiny is made from an identical stuff because the present', then there'll continuously be a necessity to proceed to hear Simone Weil.

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It is also true of Benjy, whose world is colored by loss (it is no accident that the novel opens with Benjy's search for something lost), and with Temple whose recollection for Horace of her rape by Popeye is totally concerned with the foreplay rather than with the act of fornication itself. Faulkner seems to invite us always to note discrepancies as if his sole emphasis often rested there, for he translates what sources his works have into semi fictions and legends in much the way his characters do.

BLACKMUR Page ix CONTENTS Preface xi Introduction 1 Part I: Background for Faulkner's Narrative Poetics Visions: Forms of Modern Consciousness 15 The Ways We See: Elements of Perception 15 Visual Thinking: Elements of Conception 24 Fiction and the Reader 30 Conclusion 33 Styles: Novelists of Consciousness 37 The Conditions of Narrative 38 Faulkner's Predecessors 41 Conclusion 65 Part II: Faulkner and the Modernist Tradition Style as Vision: Method 71 Structural Consciousness 71 Narrative Consciousness 86 Constitutive Consciousness 101 Conclusion 118 Style as Vision: Accomplishment 121 Flags in the Dust 123 The Sound and the Fury 139 As I Lay Dying 161 Sanctuary 177 Absalom, Absalom!

Elements scattered throughout a novel invite conflation or synchronization; while Faulkner is repetitive, he is never redundant. Perhaps Faulkner learned some of this in Hollywood; surely it was corroborated there, for like most serious film makers who seem to recognize the necessity of engaging the spectator's imagination by making their shots somewhat inconsecutive so that the spectator must fill in the gaps for himself, Faulkner relies on our active collaboration when faced with discontinuities in time, space, and event.

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