This paper argues that narrative techniques in Absalom, Absalom! demonstrate Faulkners anticipation of postmodern thought and style. Similar techniques in Christopher Nolans film Memento serve to highlight how both writer and director confound the notion of master narrative by disrupting chronology and raising questions about the reliability of the narrators in each work. Nolan orders all events of the film in reverse while threading chronologically ordered events throughout to tell the story of Lennys murder investigation. Faulkner likewise uses "dischronology," such as flashbacks to tell the story of Thomas Sutpen. Both Faulkner and Nolan provide key information through questionable narrators at strategic times to manipulate reader's/viewer's thoughts and opinions about specific characters. Nolan and Faulkner use several narrators, none of whom witnessed all events, to tell the stories of each work. A close examination of these similar narrative techniques creates a parallel between two otherwise unrelated works. More importantly, such an examination shows that although Faulkner was a modernist writer, his work Absalom, Absalom! anticipated a postmodern era. To provide additional support for the argument that Absalom, Absalom! anticipates a postmodernist understanding of Narrativity, this paper will offer a perspective that incorporates ideas of postmodern thought and narratological studies from Seymour Chatman, Gerald Prince, and Julia Kristeva. It will also draw from ideas of such Faulknerian scholars as Donald Kartiganer, Michael Millgate, and David Minter. Against the backdrop such scholarship provides a comparison of the narrative techniques of Absalom, Absalom! and Memento enhances the postmodernist understanding of historical "truth" as necessarily partial, fragmented, and subjective.

No description available.

The Mystery of the Woman and the Beast Rhetorical-Narrative Analysis of Revelation 17:1-18 This diploma thesis called "The Mystery of the Woman and the Beast" seeks to unveil the mysterious message of Revelation 17:1-18 by applying the rhetorical-narrative analysis to the text. This analysis entails a specific methodology drawn from the synthesis of both rhetorical and narrative criticism with special regard to persuasive features. The conception of the thesis is based on understanding the message of the text in its own right communicated primarily to its own implicit audience distancing itself from premature theologizing often done especially when dealing with the book of Revelation. Due to the narrative focus of the thesis, considerable space is devoted to analyzing apocalyptic literary tradition and literary aspects of the book itself. Attention is paid to the origin of the apocalyptic tradition as well as the nature of its genre together with its specific motifs and function. The book of Revelation is seen as a part of long-developing apocalyptic tradition sharing some common traits while still being original in its own right. The unique qualities of Revelation are then fully explored in the following chapter. Of particular importance are the genre, imagery, intertextuality, and structure of the book....