In August, 1954, William Faulkner’s twentieth book of fiction, A Fable, was published. As might be expected by anyone knowing of Faulkner’s previous career and critical reception, the reviewers received it with widely divergent opinions. None seems to have found the book an unqualified success, the word “failure” occurs in many of the reviews, and a number confess inability to find motivation for various actions or the pertinence of certain episodes, More than one reviewer reveals quite obviously that he has not been able to follow the plot. As a matter of fact, the runner is one the few main characters who are alive at the end of the story, and his last words on the last page of the book probably contain the essence of the novel, as we shall see. However, reviews are necessarily printed soon after book distribution (this one apparently even before), and A Fable, like most of Faulkner’s books, requires more than one reading. It is apparent that despite several books, hundreds of shorter studies, and dozens of doctoral dissertations (virtually all since 1950) written about him, WIlliam Faulkner still remains a controversial figure. He is still writing and still expressing his highly quotable opinions to interviewers, Since his moral vision has long been a matter of interest and conjecture, since his Nobel Prize Acceptance Speech presumably expressed his own credo for his life’s work, and since some disparity between the work and the credo has been claimed, and investigation of the moral implications of A Fable would appear to be worthwhile. One might ask the following questions: What sort of creature is man? What sort of world does he live in? How may man best live in his world? We shall determine Faulkner’s answers to there questions chiefly as he gave them in A Fable, although other sources may be an occasional help. In conclusion, some attempt will be made to relate this novel to Faulkner’s whole work to date in respect to point of view and artistic value.

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Georges Bataille (1897-1962) publie en 1943 un essai étrange, à mi-chemin entre le récit mystique et la philosophie : L'expérience intérieure. La même année, Jean-Paul Sartre (1905-1980) consacre à cet ouvrage une critique particulièrement polémique intitulée ± Un nouveau mystique ¿. Dans les dix années qui suivront, Bataille écrira au moins six textes en réaction à Sartre ou à l'existentialisme, dans lesquels il clarifie sa position tout en précisant de plus en plus ce qui l'éloigné de celle Sartre. Du côté de ce dernier, cependant, on ne trouvera plus aucun texte directement adressé à Bataille, même si la polémique engagée avec lui se poursuivra indirectement dans plusieurs de ses écrits. C'est ce dialogue entre Sartre et Bataille que nous analyserons dans ce mémoire ; notre but est de clarifier, à la lumière des critiques de Sartre, la démarche philosophique de Bataille

Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência. / This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers.

Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência. / This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers.

Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência. / This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers.

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. Identification of those stories associated with hierophanies in Faulkner's Yoknapatawpha fiction enables the isolation and analysis of the sacred stories and sacraments of Yoknapatawpha County's civil religion. The storytellings examined appear in Flags in the Dust, "A Justice," and Absalom, Absalom!. The storytellers and the audiences are all a part of the Yoknapatawpha community, and the stories are drawn from a common history. The sacralization and use of particular stories to explain certain events reflects the faith life of the community as a whole, as well as that of the individual participating in the ritual. The explication of the profane experiences the myths are meant to sanctify will reveal that the individuals, and consequently, the community, are in the process of discarding their old, civil religion. As a result, they have lost the ability to adapt their ancestral myths to fit the existential crises they presently face. Unable to infuse the present with the sacred, Yoknapatawpha1s younger generation is overwhelmed by the chaos that surrounds it.

Made available in DSpace on 2016-04-27T17:27:23Z (GMT). No. of bitstreams: 1 Roberta Sendacz.pdf: 683002 bytes, checksum: dbb8e679b3d1d74f350f94f5561c6472 (MD5) Previous issue date: 2008-05-13 / This paper sets out comparisons, differences and affinities between the works by Catherine Breillat, the movie maker, and by Georges Bataille, the philosopher. As authors who were born in different times and engaged themselves in different areas of knowledge, Breillat s thoughts are expressed through motion picture and those of Bataille in the form of writing. This is the reason why the dialogue implied in this paper has a thematic background. The privilege of both authors´ erotic view is used here as the central axis, starting from Bataille s idea that the sense of eroticism is the fusion, the suppression of limits. However, though both see the union of the bodies as corresponding to a violation of the identities, the presence of the female character in Breillat s films permeates such conception with a certain rare complexity concerning gender and love. The analysis of such particulars opens up the possibility of marking out not only strong points in common, but also significant distinctions between the two eroticisms / Cotejar as obras da cineasta Catherine Breillat e do filósofo Georges Bataille é o objetivo deste trabalho. Sendo autores nascidos em épocas diferentes, e alocados em distintas áreas do conhecimento, o pensamento de Breillat se apresenta na forma de filme e o de Bataille na da escrita. Por tal razão, o diálogo que aqui se propõe é de fundo temático. Toma-se como eixo central o privilégio da visada erótica nos dois autores, partindo da concepção batailliana de que o sentido do erotismo é a fusão, a supressão dos limites . Porém, ainda que para ambos a união dos corpos corresponda à violação das identidades, a presença do personagem feminino nos filmes de Breillat faz essa concepção ser atravessada por uma problemática rara do gênero e do amor. O exame de tais particularidades permite circunscrever pontos de contato intensos, mas também distinções significativas entre as duas eróticas

Made available in DSpace on 2016-04-25T19:20:48Z (GMT). No. of bitstreams: 1 gina.pdf: 1098229 bytes, checksum: 5645c7798b643448a57df0e3bcad9b1c (MD5) Previous issue date: 2007-10-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of the present work is to determine the use and conception, as well as the relation with each other, of the terms Erotism and Religion in the writings of Georges Bataille, emphasising Erotism: Death and Sensuality, The Tears of Eros and Inner Experience, texts which concentrate the main dimensions of his oeuvre. In these, the author exposes the epistemological element of erotic experiences and their religious foundations. Bataille composes an encounter between religion and sexuality, a meeting that defies the action of human continuity and discontinuity, superseding and condemning the being. Thus, life and death meet by means of the discovery of erotism and religion, being erotism the inner life substance of humans, deeply identifying them with religious experiences. The adopted approach for the present work was approximative and problem-focused, intended to dare to discover the essential meaning of the bataillian erotica, reaching an understanding. With no pre-conceived rigour, a journey throughout his works is hereby proposed. We go from the theoretical influences that caused the meeting of the aforementioned concepts to a critical and geographical interpretation of the chosen body of documents, favouring the conceptual structure of Erotism and Religion and their correlated terms: interdiction, transgression, sacrifice, death, life, continuity and discontinuity. Finally, the central focus of this study is on the concepts of Erotism and Religion and their inter-relation within the experience of mystical ecstasy / O presente trabalho tem por finalidade determinar o emprego, a concepção e a relação dos termos Erotismo e Religião em Georges Bataille. Serão enfatizados os textos que concentram as principais dimensões de sua obra, a saber: O Erotismo, As Lágrimas de Eros e a Experiência Interior. Nesses, o autor expõe a dimensão epistemológica da experiência erótica e seu fundamento religioso. Bataille elabora um encontro entre a religião e a sexualidade, encontro esse que desafia o ato da continuidade e descontinuidade humana, superando o ser e condenando esse ser. Assim, vida e morte se encontram no desvendar do erotismo e da religião, sendo o erotismo a substância da vida interior do homem, identificando-o em profundidade com a experiência religiosa. A abordagem praticada na pesquisa foi problematizadora e aproximativa, cuja intenção foi descobrir o sentido essencial da erótica batailliana, produzindo-lhe uma compreensão. Sem um rigor pré-feito, foi proposto um caminhar pelas obras. Passou-se pelas influências teóricas que forjaram o encontro dos conceitos a uma leitura crítico-geográfica do corpo documental eleito, privilegiando a estrutura conceptual de Erotismo e Religião e seus correlatos: a interdição, a transgressão, o sacrifício, a morte, a vida, a continuidade e a descontinuidade. Por fim, a investigação teve como ponto central os conceitos de Erotismo e Religião e a inter-relação existente na experiência do êxtase místico

Made available in DSpace on 2016-04-25T20:19:53Z (GMT). No. of bitstreams: 1 Natalia Rolim Rosa.pdf: 1388885 bytes, checksum: 88aeb764bc7488d897a40683bb4808e7 (MD5) Previous issue date: 2010-10-01 / This dissertation analyzes the thinking of Georges Bataille with the objective to investigate in his intempestivity the conception of eroticism. The complex movement that the author wages to develop this concept allows new possibilities to approach the nature/culture border, as well as animality and humanity concepts. In the introdution of The Eroctism the author announces to be in search of the Man in its totality, turning himself against the fragmentaries lines to pursuit the idea of a whole. This pursuance will be given by human passion and its only object, that implies in a tour upon the human spirit and its inner life. In the innerness of the being there is the encounter with the most overwhelming experiences, with the holy, the beauty, the horror and the passion. In the Baitaille's proposition there isn't borders between man and animal, mind and body, life and death; these instances constantly overflows one another and is in this intempestive movement that he sees the totality of the being. In this complex and unexpected field of human inner life, the being oversteps the limitrophes of the objective conscience into disconcerting experiences in which the conscience dissolves itself in the corporeal. The intent of this work it's to comprehend the totality that the batailliam thought seeks to reach in the inner experience consception by the means of problematization of the notions of eroctism, animality and humanity / Esta dissertação analisa o pensamento de Georges Bataille com o objetivo de investigar em sua intempestividade a concepção de erotismo. O complexo movimento que o autor trava ao desenvolver esse conceito permite novas possibilidades para abordar a fronteira natureza/cultura, assim como os conceitos de animalidade e humanidade. Na introdução de O Erotismo o autor anuncia estar à procura do homem em sua totalidade, volta-se contra as linhas fragmentárias para perseguir a ideia de conjunto. Essa busca se dá pela paixão humana e seu único objeto, que implica num passeio sobre o espírito humano e sua vida interior. Na interioridade do ser há o encontro com as experiências mais avassaladoras, com o sagrado, a beleza, o horror e a paixão. Na proposta de Bataille não há fronteiras entre homem e animal, mente e corpo, vida e morte; estas instâncias constantemente transbordam uma na outra e é neste movimento intempestivo que vê a totalidade do ser. Neste campo complexo e imprevisto da vida interior humana, o ser ultrapassa os limítrofes da consciência objetiva para experiências desconcertantes em que a consciência se dissolve no corpóreo. O intuito do trabalho é compreender a totalidade que o pensamento batailliano busca atingir na concepção de experiência interior por meio da problematização das noções de erotismo, animalidade e humanidade