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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Contralpuntal relationships in selected stories of Faulkner.

Kenneally, Michael. January 1971 (has links)
No description available.
2

L'"Abbé C." de Georges Bataille : les structures masquées du double /

Bosch, Gerarda Elisabeth. January 1983 (has links)
Proefschrift : Lettres : Leiden : 1983.
3

Yoknapatawpha County: Faulkner's battleground for modern man

Haworth, Roberta, 1938- January 1968 (has links)
No description available.
4

Contralpuntal relationships in selected stories of Faulkner.

Kenneally, Michael. January 1971 (has links)
No description available.
5

Faulkner's trilogy : technique as approach to theme

Galbraith, Margaret Edith January 1962 (has links)
The purpose of this thesis is to show the relationship of technique to theme in Faulkner's Snopes Trilogy. The central theme, the continuous conflict in man between the world of nature and that of money, is revealed most clearly through certain structural and symbolic techniques. The conflict between the two ways of life is expressed structurally by a series of encounters; in the three novels, and symbolically by the tension between opposing symbols. The encounters usually take the form of a struggle between a man and a woman, the man representing the world of money, the woman, the world of nature. The most powerful symbols of nature, earth and season, are opposed by the most powerful symbols of the world of ownership, money, automobiles and monuments. The continuity of life is dramatized in the circular structure, which is seen in the apparently endless repetition of both the central conflict and the major symbols. In spite of certain limitations of the Trilogy, such as the fact that it must rely upon other books in the Yoknapatawpha cycle, and an unevenness which results from the great length of time in which It was written, it merits a more detailed study than has been accorded it by the majority of the critics in the past. A survey of the existing criticism indicates that it is inadequate largely because it fails to probe the novels deeply enough. Instead it often relies heavily on the traditional approach to Faulkner first suggested by George Marion O'Donnell, which says that all Faulkner's work is a variation of the theme of the struggle between Sartoris, the moral aristocrat, and Snopes, the amoral poor white. As a result of the influence of the traditional view, relatively few attempts have been made to approach the Trilogy in any other manner. The best approach to the meaning of the Trilogy is not through fixed interpretations but through technique. A detailed analysis of symbolic and structural technique in The Hamlet, The Town and The Mansion reveals the conflict and the continuity of life, and also the central focus of the novel. The focus in the Trilogy is not upon Flem Snopes but upon man. Man's struggle to reconcile the world of nature with that of money and ownership leads him to an understanding of the nature of evil within himself. The Trilogy stresses the fact that not only must man become morally aware of the evil within himself, but he must also struggle constantly to overcome it. Because he is a part of both worlds he must reconcile them as Ratliff does, not reject them as Stevens does. The reality of Faulkner's presentation of the conflict and continuity of man's life, as revealed by technique, makes the Trilogy a significant part of his work, worthy of a detailed study. / Arts, Faculty of / English, Department of / Graduate
6

Rules and cricumstances : the young protagonist and the social codes in Faulkner's fiction

Meltabarger, Beverly Ann January 1967 (has links)
It is an interesting and seldom noted fact that the young protagonist—the boy or girl between the ages of ten and twenty-one—appears again and again in the novels and short stories of William Faulkner. Since Faulkner wrote for an adult audience which might well lose interest in a non-adult hero, and since his themes involve violent and even sensational aspects such as suicide, rape, lynching and castration, which are part of an adult world, he must have had some definite purpose in using a young protagonist. A closer look at the works in which young people play major roles will reveal that, with few exceptions, the young protagonist is involved in a conflict with one of society's many unwritten codes of behavior, which is exerting pressure on him to conform to its dictates. Furthermore, it becomes apparent that Faulkner is using the young protagonist for two main purposes: to show, in microcosm, the various relationships between individuals of any age and the social codes, and to remind the reader of the constant opportunity to use free will, to free oneself from destructive or immoral situations and demands, which all individuals possess but which the child particularly utilizes. In showing how the young protagonist resolves his conflict, then, Faulkner seems to be making a very significant statement on both individualism and conformity, man and the social codes. In this thesis I have discussed several of Faulkner's young people in terms of the particular codes which they encounter. These I have called The Familial Code, The Religious Code, The Racial Code and The Chivalric Code. The order in which these codes are presented is determined firstly by the order in which they might be encountered by a child as he grows up. They represent, in other words, a constant movement outward from almost instinctive emotional responses to highly sophisticated and idealistic concepts. At the same time, I move towards codes of major importance in Faulkner's writing—The Racial and Chivalric Codes—placing the most emphasis on them by examining in greater depth those works in which they occur. / Arts, Faculty of / English, Department of / Graduate
7

Tools in the carpenter's shop: a study of faulkner's use of the christian myth

Evans, James Carl January 1971 (has links)
The thesis describes the consistent thematic use of and the steady artistic development in the Christian myth as it appears in William Faulkner's novels. Although I concentrate on the use of Biblical allusions, other mythical references are examined when they become a part of the pattern described, as in Soldier's Pay and The Sound and the Fury. A Fable is examined first because its explicit allegorical use of the myth clearly indicates the direction Faulkner takes in the earlier stages of his artistry. It presents the fundamental conflict between "Authority," which would shape man in its own image, and the corporal-Christ's belief in the primacy of the whole being unconstrained by ideology. Such belief is "capable of containing all of time and all of man” in one unutterable vision. In order to emphasize Faulkner's development toward this articulation of the-myth, I analyze his "apprentice works," Soldier's Pay, Mosquitoes, and Sartoris, and then the later novels in which the myth is a primary element, The Sound and the Fury and Light in August. Each of these novels rejections institutions which repress man's self-expression and contains a movement toward the "timeless moment" of a vision of the essential wholeness of life. In Soldier's Pay that moment occurs amidst the sterility and fragmentation that society has instilled into Donald Mahon. At the end of the novel, the Negro church service overwhelms Joe Gilligan and Rector Mahon with its effusion of a perfect conjunction of life's elements, "sweat,...sex and death and damnation," and it enables them to experience their own profound humanity. Mosquitoes juxtaposes the superficiality and impotence aboard the Nausikaa with Fairchild's comprehension of the same primary unity of "the hackneyed accidents which make up this world." Sartoris portrays Bayard's rejection of life because of his inability to fuse his family tra- dition with the meaninglessness of his own war experiences. Then, foreshadowing the rebirth motif in Light in August, Bayard dies on the day his son is born; but his wife rejects the Sartoris tradition by naming the child Benbow Sartoris, thus uniting the placidity of her own life as a Benbow with the energy of the Sartorises. In The Sound and the Fury and Light in August, both poles of the conflict are expressed in terms of the Christian myth. The Compson narrators all have rigid perceptual frameworks which are linked with a view of Christianity as an oppressive ideology. In contrast, Dilsey's experience in the Easter service is an expression of the acceptance of the whole man which allows one to see the integrity of life and is timeless because it subsumes all of time, "de beginnin’ en de endin,'” into an instant of perception. Light in August deals with society's imposition of its definitions on individuals and Joe, like Christ, is martyred because his life is perceived as a threat to its pattern of order. Then, in the conjunction of Joe's death with the birth of Lena's baby, one sees a union of the suffering brought by "evil" and the ecstasy of creation. Both poles, nativity and crucifixion, are part of the Christian myth; both are part of life itself and when conjoined, bring a comprehension of the divinity of life experienced in its wholeness. Thus, in Faulkner's works, the Christian myth becomes, in Mark Schorer's words, "a large controlling image...which gives philosophical meaning to the facts of ordinary life." The thematic consistency with which the myth is used underscores that meaning. / Arts, Faculty of / English, Department of / Graduate
8

William Faulkner and Sherwood Anderson : A study of a literary relationship

Frame, Gary Andrew January 1968 (has links)
This study explores the nature and extent of Sherwood Anderson's influence upon William Faulkner. It demonstrates, through the use of the comparative method, that Anderson's influence is a major and continuous one. The early New Orlean Sketches strongly echo and, at times, imitate Anderson's work. Faulkner's first novel, Soldiers' Pay, was not only written at Anderson's suggestion but also published through his influence. In Mosquitoes, Faulkner closely modeled his main character after Anderson. Anderson helped Faulkner to organize some of the "folk" material in that novel. Faulkner's early use of negro characters to embody a kind of sane, healthy alternative to the world of the whites may well have been encouraged by Anderson's example. Furthermore, Anderson played an important role, at a crucial period In Faulkner's development, in directing him to the fictional use of the Yoknapatawpha material. He led Faulkner to realize that universality in art could grow out of regional material. Faulkner's sense of community and his exploration of the individual's search for community so closely resemble Anderson's as to suggest some indebtedness. Faulkner's dramatization of the effects of the destruction of that community by the forces of modern commerce and industry is rendered in terms similar to Anderson's. Also, Faulkner's creation of an idyllic, rural world in contrast to the mechanistic, urban world resembles that in Anderson's stories of horses and men. And Faulkner uses Anderson's idea that the world of horses is a totally male world elsewhere in his fiction. There is a strong resemblance, finally, in Faulkner's and Anderson's concept of the grotesque: for both, it concerns truth and its consequences in the individual's Isolation and behaviour. In fact, it is argued that Anderson's "theory of the grotesque" provides a rationale for the larger structure of some of Faulkner's most important work. For these reasons, it is concluded that Anderson was an important force in shaping the form and content of Faulkner's art. / Arts, Faculty of / English, Department of / Graduate
9

Hierarchy : Georges Bataille and religious studies

Taylor, John January 2008 (has links)
No description available.
10

William Faulkner's humor in selected stories; its significance to the oral interpreter

Emerick, Annette Paula, 1922- January 1961 (has links)
No description available.

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