The purpose of this study was two-fold: (1) To establish William Faulkner's informal theory by comparing interview statements which he made on the subject of dialect with Sumner Ives's formal theory and (2) To uncover broad patterns in Faulkner's use of dialect markers from the beginning to the end of his literary career by making a rigorous statistical analysis of his use of dialect markers in eight Yoknapatawpba County novels written between the beginning and the end of his career.Chapter 1 is an introduction to the study. Chapter 2 contains a review of literature in the field of dialect study in recent years and examines the main relationships between those studies and this one. Chapter 3 discusses the basic principles of Sumner Ives's formal dialect theory, particularly as they may be- applied to William Faulkner's use of dialect. Chapter 4 compares Faulkner's informal dialect theory, as it was expressed in various interview statements which he made on the subject of dialect, with Ives's formal theory. Chapter 5 describes the data gathering procedures for the statistical analysis of Faulkner's use of dialect markers, and Chapter 6 gives the results of the analysis. Chapter 7 presents the conclusions for the entire study.The comparison of William.Faulkner's informal dialect theory and Sumner Ives's formal one reveals that they were, in their broad outlines, essentially the same.For the purpose of analyzing Faulkner's use of dialect markers, his works were divided into three periods-early, middle, and late--with the following novels selected for analysis in these periods: early, Sartoris (1929) and The Sound and the Fury (1929); middle, Light in August (1932), The Unvanquished (1938), and The Hamlet (1940) ; and late, Intruder in the Dust (1948), The Town (1957), and The Reivers (1962). In all 3,7144 dialogue passages were analyzed in the eight novels; these dialogue passages contained 83,619 words.Also for purposes of analysis, a dialect marker was defined as either a phonological spelling or a nonstandard grammatical construction. The statistical analysis of Faulkner's use of dialect markers was an analysis of variance involving seven independent variables and six dependent variables. The independent' variables were the numerical order in which the novels analyzed were published and the numerical order of the literary period in which they were grouped with other novels in the study and the age, sex, class, race, and location of the characters who spoke the dialogue analyzed. The dependent variables were the percentages of words used as dialect markers per utterance under the categories 'total', 'verbs or auxiliaries', 'nouns', 'adjectives or adverbs', 'pronouns or demonstratives', and 'others'.The analysis of Faulkner's use of dialect markers revealed that he made significant change in that use from the beginning to the middle, but not from the middle to the end of his career. It showed that the greatest part of that change was a decrease in marker use by lower class characters rather than middle or upper class characters and by black characters rather than white characters. It also showed significant change on a sex basis with a larger decrease for male than female characters and a significant difference on an age basis with children and old adults using higherpercentages of their words as dialect markers than young middle aged adults. On a parts of speech basis, the analysis indicated that Faulkner's most frequently used and most consistently used dialect marker was the verb.

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The purpose of this thesis is to discuss the importance of Go Down, Moses in the working out of Faulkner's moral vision. By and large, critics have considered this book to be a central or pivotal work in this process, seeing Ike McCaslin's renunciation as a meaningful response to the curses of slavery and miscegenation which have beset the South for so many generations. Furthermore, some of them point out that Ike's initiation into the primitive simplicity of the wilderness world of Sam Fathers represents a solution for modern man in his own troubled world: somehow to effect a reversion to a simpler world with its concomitant virtues of innocence, humility, and self-sufficiency. On the whole, these critics have concentrated mainly on "The Bear" section of Go Down, Moses, and to a lesser extent on "Delta Autumn" and "The Old People," the three stories in which Ike directly appears. Consequently, their conclusions about Faulkner's moral vision stem almost entirely from their interpretation of Ike's responses to his two legacies, the wilderness world and the plantation world, with relatively little attention being paid to the responses of the other inheritors of the McCaslin curse. Thus, Go Down, Moses as a thematically unified work has been largely neglected, and the experiences of Ike McCaslin have been emphasized at the expense of those of the other inhabitants of the plantation world. This thesis will pursue the argument that the above interpretation is misleading on several counts, and hence that it is necessary to see the centrality of Go Down, Moses in a different perspective. First of all, by examining the nature of the plantation world, we will see that what Ike really repudiated was not just a legal inheritance, but a very real world in which the constituents of a full and meaningful life were everywhere evident. Secondly, it becomes evident in the analysis of Ike’s renunciation that his decision meant in effect that he was abdicating his responsibility for developing sound moral and ethical relationships within the world he was born into, and that his obsession with the values of the wilderness world represented living in terms of ritual rather than of reality. In the third place, the responses of the other inhabitants of the plantation world reflect a far more meaningful grasp of both the past and the present than does Ike, and in the perspective of these people, he suffers a significantly reduced stature. It becomes clear, then, that Faulkner uses Ike's responses to illustrate the futility of the static idealist rather than the sacrifice of a dedicated and determined reformer. And finally, the evidence in such later novels as Intruder in the Dust, A Fable, and The Reivers, as well as in Faulkner's own public utterances in the Nobel Prize Speech, at the University of Virginia, and at Nagano, indicates clearly how far man must progress beyond the idealism of the Ike McCaslins of the world in order to make an effective contribution to the moral and ethical status of his society. This thesis does not dispute the fact that "The Bear" is the key work in Go Down, Moses, nor that Ike is a central figure, but it does maintain that their significance can be, determined only by a close examination of the work as a whole. Such an examination will clearly reveal Faulkner's larger concern: that man must respond to his world as he finds it, whether that world is the wilderness, the plantation, or the modern world, and that the decisions he makes must be based on the realities of the world he has inherited. Within this perspective, it is evident that the responses of the Edmondses, the Beauchamps, and the miscellaneous inhabitants of the McCaslin plantation world must be carefully analyzed, for only against the tangible exigencies of the day-to-day lives of these people can the actions of Ike be properly assessed. / Arts, Faculty of / English, Department of / Graduate

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The conclusion drawn from this study is that the arrangement of material in Absalom, Absalom! is unified and purposeful. The structure evokes that despair that is the common denominator of mankind. It reveals both the bond between men and the separation of men; and though some of the most dramatic episodes in the novel picture the union of men in brotherly love, most of the material and certainly the arrangement of the material emphasize the estrangement of men. In addition, by juxtaposing chapters, each separated from the others by its own structural and thematic qualities, Faulkner places a burden of interpretation on the reader suggestive of the burden of despair that overwhelms the protagonists of the novel.

"The Religious Dimensions of William Faulkner: An Inquiry into the Dichotomy of Puritanism" traces a secular mode of thinking of American moral superiority and the gospel of success to its religious origins. The study shows that while the basis for American moral superiority derives from the typological correspondence between sacred history and American experience, the gospel of success results from the Puritan preoccupation with work as a virtue instead of a necessity because labor improves one's lot in this world while securing salvation in the next. By explaining how Puritanism begins as a rejection of worldliness but ends as an orgy of materialism, my study raises and addresses the paradoxical nature of the Puritan legacy: Why should the Puritan work ethic, when subverted by its logical conclusion---the gospel of success, result in the undoing of Puritan spirituality in its mission of redeeming the Old World? Furthermore, this inquiry examines the role Puritanism plays in creating the mythologies of America as the New World Garden, the white man as the American Adam, the black man as the American Ham, and the white woman as the American Eve. In the Puritan use of biblical typology, blacks and women function as the white men's servants and helpmates and, as such, have only adjunctive value to the white men's moral vision of the New Canaan and their economic pursuit of an earthly paradise. Since the racist and sexist discourse of Adamic self-creation predominates the American Dream, blacks and women become part of, rather than owner of, that dream. Basing my analysis on his three major novels, I demonstrate William Faulkner's penetrating insight into the dilemmas and ramifications of Puritanism in his critique of the American gospel of success in general and the Southern gospels of racism and sexism in particular. My conception of Puritanism in dichotomous tension, paradigmatically proposed as the American Adam turned Franklinesque self-made man, sheds new light on Faulkner's fictional characters as victims of the Puritan moral ambiguities.

The aim of this study is not to explain Juan Rulfo in the light of William Faulkner, although the latter's influence among Spanish American writers is unquestionable. Rather, I propose to specifically examine Faulkner's Absalom, Absalom! and Rulfo's Pedro Paramo in comparative terms, since both novels are about the conflict between human desire and reality: they deal with longings, particularly those of Thomas Sutpen and Pedro Paramo, which never achieve ultimate satisfaction, in spite of these central characters' overwhelming and obsessive will to power which creates Sutpen's Hundred and Comala in the image of each protagonist. Each character tries to assume the omnipotence of a god, once his unthinking participation in the existential reality has been destroyed by chance traumatic occurrences. Comparable metamorphic organizing images exist in the two novels: a square and a circle. They represent the protagonists' conception of a protected space/world with an illusory center, born out of desire and representing an ideal which would render meaningful Sutpen's and Paramo's existence. The heart of Sutpen's dream is an heir to continue his dynasty and Paramo is haunted by the idealized Susana whom he claims to be the reason of all his actions. However, the two fabricated worlds are eventually revealed as fictions, and the centers of both structures collapse into the dust of reality. What remains of the two protagonists is only a motionless marble tombstone in a decayed plantation and a crumbled heap of stones in a moribund village. The inheritors of the two worlds are a mulatto idiot and an incestuous couple. After commenting on some critical opinions of the two novels and their protagonists, I trace the conception, the workings, and the collapse, with its consequences, of the two worlds of desire. I follow an approximately chronologial order, although the two texts are anything but chronological.