Le projet de création Le chasseur inconnu est un roman dont la narration problématique – au nous – constitue la principale particularité. Campé dans un village non identifié dont les habitants se réunissent chaque semaine pour débattre de leurs problèmes et pour potiner, ce texte de fiction se déploie grâce aux voix de narrateurs mystérieux et à leur ton parfois aux limites de l’absurde. L’essai réflexif qui suit le roman propose une étude des enjeux et des effets de la narration au nous dans la nouvelle Une rose pour Emily de William Faulkner. / The novel Le chasseur inconnu’s most defining characteristic is its narration ;  an unnatural we narration. The story takes place in an unknown town where villagers meet every week to discuss their problems and to gossip. As the plot unfolds, the mysterious narrators and their absurd voices become increasingly important and stress the narrative peculiarity of the novel. The essay following Le chasseur inconnu offers a study of we narration in William Faulkner’s short story A Rose for Emily.

The Myth of the Old South, like all myths, contains some elements of truth, but like all myths, it contains some things that are not true. Faulkner has used those parts of the Myth that are true, but he has repudiated and in many cases destroyed those parts of the Myth which he has found to be the product of imagination rather than history.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica / Facultad de Filosofía y Humanidades / Me gustaría compartir, a modo de introducción, el proceso por el cual llegué a mi propuesta de tesina. El punto de partida es el seminario de Recepción de tragedia contemporánea, en el cual se enmarca todo este trabajo. El seminario tenía como objetivo el análisis de la recepción de la tragedia griega y la tragedia isabelina en el teatro contemporáneo, considerando las dos posibilidades de actualización del género: la recepción creativa de argumentos de tragedias en obras dramática y la recepción creativa de las propiedades del género en la escritura de nuevas tragedias. Comencé con una intuición y un impulso basado únicamente en obsesiones personales: William Faulkner. El primer intento fue desde Luz de Agosto, la conocida novela que tanta locura y horror había causado a André Gide. Sin embargo estaba el problema del género. Como antes señalé el curso se abocaba al estudio de obras dramáticas. Luego apareció la adaptación para el teatro que Albert Camus había hecho de Réquiem para una mujer1 de Faulkner. Y cuando finalmente tuve las dos obras en mis manos, la original, la de Faulkner, exhibió toda su complejidad. Se trataba de un hibrido que conjugaba características discursivas y formales predominantemente narrativas con elementos asociados a lo dramático. Con Réquiem para una mujer podía amoldarme a las exigencias del curso sin dejar de lado los caprichos

Tesis para optar al grado de Licenciada en Lengua y Literatura Inglesa / Facultad de Filosofía y Humanidades / Faulkner’s fiction is pregnant with the uncontrollable forces phenomenon. These forces override human volition and prediction. In The Sound and the Fury the most important expression of these forces is Caddy as a symbol of female sexuality. In this thesis I explore how characters view this phenomenon. These phenomenon is investigated by using Ricoeur’s hermeneutical literary approach

Lai, Jing Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 90-94). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter One --- p.16 / Chapter Two --- p.41 / Chapter Three --- p.60 / Conclusion --- p.87 / Works Cited --- p.90 / Additional Bibliography --- p.92

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Tesis (maestro en letras españolas)--Universidad Nacional Autónoma de México. / Includes bibliographical references.

By comparing the novels of William Faulkner and Patrick White, this thesis reconsiders modernism's elitism and solipsism by revealing within them a critical interest in liberating minority perspective. Theoretical debates which continue to insist on modernism's inherent distance from the identity politics which front the postmodernist movement are overlooking modernism's deeply embedded evaluative mechanisms which work to expose and criticize the activity of psychic and social co-optation. Faulkner and White are both engaged in fictionally tracing the complexities of a failing patriarchy which can no longer substantiate its primary subjects — the white, upper class male. As representatives of modernism we can see that Faulkner and White, perhaps unwittingly, initiate the awareness that the 'failure' of their chosen subjects is in large measure due to processes of marginalization which both created the authoritative power structures within which they are constructed and helped serve to collapse them. The classic isolation of the modernist subject can be looked at not simply as an isolation predicated on endless self-referentiality, but rather on a desperate social outreaching for which he or she is not psychically equipped. By following the trajectory and perspective of specific novels and characters it becomes clear that it is precisely this handicap which clears the textual space for diversity of representation, just as it overturns the notion of modernism's functioning separatism. Chapter one concentrates on the double-edged representation of the female subject constructed as always-already 'guilty' within the psychologically, emotionally and physically repressive terms of the dominant male power structures within the context of Faulkner's Requiem for a Nun and White's A Fringe of Leaves. Chapter two investigates the psychological parameters of the morally disenfranchised modern subject whose disillusionment results from prejudicial social practices promoted by virulent racial anxiety as exemplified in Faulkner's Absalom, Absalom! and White's Voss. The third and final chapter discusses Light in August and Riders in the Chariot with attention to modernism's own investigation of the exclusion of minority voices from collective social imagining. The thesis posits that literary modernism is interested less with reconciling its literary subjects within a self-contained totalizing project than it is with invoking new social and psychological paradigms that stress the necessity of external, not internal, represented multiplicity, and that what has been (mis)recognized as modernism's self-closure is, in fact, the key not only to its own continuing relevance, but to the contemporaneous literary injunction to let all voices be heard.

"The Journey Within" deals with how the receiver (reader/viewer) engages with the novel and the film. The thesis primarily focuses on Faulkner's novel, incorporating Persona largely as a means by which to illustrate the more carefully concealed reader-engagement strategies in Absalom, Absalom! Starting with a review of Faulkner criticism that opens itself up to this inquiry, the thesis leads into a detail study of the engagement strategies used to foster identification, alignment, sympathy, and empathy among receivers. Employing Umberto Eco's criticism involving "Model Readers" who "actualize" texts, as well as other reader and viewer response theory, I demonstrate that certain receivers experience a specific, heightened engagement with the work. This "Model" receiver restructures her ideologies to accord with what the work expects from her. Ultimately, this particular engagement leads to ontological participation in the work among its receivers. Martin Heidegger's phenomenological investigation, Being and Time, helps illustrate this ontological participation.

Thesis (M. Phil.)--University of Hong Kong, 2008. / Also available in print.