Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2017-05-31T20:32:01Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ívens Matozo Silva.pdf: 2559231 bytes, checksum: 4e31a08bf20af3254d8967b4ee3e82fa (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-05-31T20:36:36Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ívens Matozo Silva.pdf: 2559231 bytes, checksum: 4e31a08bf20af3254d8967b4ee3e82fa (MD5) / Made available in DSpace on 2017-05-31T20:39:18Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ívens Matozo Silva.pdf: 2559231 bytes, checksum: 4e31a08bf20af3254d8967b4ee3e82fa (MD5) Previous issue date: 2017-02-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / O meio literário tornou-se um ambiente fecundo para a representação e elaboração de narrativas que procuram refletir sobre as relações familiares. Entre os diversos assuntos explorados nessas obras, a temática da decadência tem sido um motivo recorrente. É sob esse aspecto que se insere a presente dissertação, a qual possui o objetivo de examinar como se configura o tema da decadência nos romances Absalão, Absalão! (1936), de William Faulkner, e Ópera dos mortos (1967), de Autran Dourado, levando em consideração a influência das transmissões transgeracionais e o peso simbólico do passado sobre os integrantes das dinastias Sutpen e Honório Cota. Para atingirmos esse objetivo, procuramos investigar o valor simbólico atribuído à figura paterna presente nos romances, enfatizando o seu papel na constituição da estrutura e na formação da identidade familiar; examinar as relações intersubjetivas e as transmissões comportamentais entre ascendentes e descendentes; analisar o papel da memória familiar e os efeitos causados pela compulsão dos descendentes em preservar as heranças ancestrais; e, por fim, verificar o modo como as memórias familiares se articulam na configuração espacial, mais precisamente na casa, como vestígios mnemônicos que asseguram a presença dos mortos e apontam para a apreensão do passado frente às transformações históricas e sociais. Para tanto, nossa pesquisa está ancorada nos pressupostos teóricos desenvolvidos por Assmann (2011), Benjamin (2012; 2013), Candau (2011), Freud (1996) e Penso, Costa e Ribeiro (2008). Os resultados deste trabalho evidenciam que as transmissões transgeracionais e o peso simbólico do passado exercem uma forte ação negativa sobre as personagens. Além disso, a decadência que acomete as duas famílias funciona como uma representação metafórica e metonímica que correlaciona a trajetória de ascensão e queda das duas dinastias com o esfacelamento das sociedades às quais aludem as narrativas. / The literary field has become a fruitful ground for the representation and elaboration of narratives which attempt to reflect upon family relations. Among the diversity of motifs presented in those productions, the theme of decay has been a recurrent topic. In light of this, the present research aims at analyzing how the theme of the declining family is portrayed in William Faulkner’s Absalom, Absalom! (1936) and Autran Dourado’s The voices of the dead (1967) taking into account the influence on transgeracional transmission and the symbolic burden of the past over the Sutpen’s and the Honório Cota’s dynasty members. In order to reach the objective above, we seek to investigate the symbolic value of the father figure within the novels, focusing on his role in the constitution of the structure and formation of the family; to examine the relation among the family members as well as the transmission of behavior between ancestors and descendants; to analyze the role played by the family memory and the effects caused by the descendants’ compulsion to preserve their inheritance; and, lastly, to verify in what way the family memories are embodied in the spatial configuration, more precisely the house, as a mnemonic trace that keeps the presence of the dead and reflects the view of the past towards historical and social transformations. To this end, we based our analysis on the studies developed by Assmann (2011), Benjamin (2012; 2013), Candau (2011), Freud (1996), Penso, Costa and Ribeiro (2008). The results show that the transgeracional transmission and the burden of the past hold a remarkable negative power over the characters. Furthermore, it may be concluded that the decay which tears the families apart function as a metaphorical and metonymic representation that associate the rise and fall of both dynasties to the process of destruction and transformation of the societies described in the novels.

<p>The Sound and the Fury is William Faulkner’s story of the Compson family’s downfall in the American South during the early 20th century. The novel illustrates the impact on the cultural identity of the South of strictly defined social roles and the tension they created in the aftermath of slavery and defeat in the Civil War. In my analysis, I have chosen to focus on gender issues, especially in their Southern manifestation. The Compsons’ daughter, Caddy, figures prominently in the sons’ narratives, but is only portrayed through their perceptions and memories. My aim is to determine Caddy’s significance in the novel by exploring her relationships with her brothers, as seen through their eyes, and how she is characterized by them. In Benjy’s narrative, I examine her actions as a little girl in light of the Eve myth and the icon of the virgin mother. Quentin’s obsession with Caddy's sexuality as a teenager reveals the implications of associating female sexuality with death, the role of language in reproducing and combating established gender power structures, and the impact of traditional gender roles on women and men. Jason’s binary categorization of women as virgins or whores turns the few glimpses of Caddy as a mother into that of a woman treated as a commodity of exchange. In each of their narratives, Caddy is a dynamic character whose words, body, and actions expose prevailing social and gender power struggles. By conjuring her presence through her absence, her brothers reveal the depth and destructiveness of the social imperatives that underlie their attempts to control her. I suggest that Caddy’s role in the novel is to disrupt the brothers’ narratives and challenge the underlying Southern social and gender constructs that imbue them.</p>

The college commencement address is traditionally regarded as the low point of an otherwise auspicious occasion. An ephemeral form of ceremonial oratory, the commencement speech is reviled for its conventional platitudes, its easy piety, and its abstractions on the well-lived life, the sunny future, and the ethics of adulthood. The South may differ, however, in its approach to the commencement speech genre, especially in the years between World War II and the millennium, when one of the South’s most significant assets became the southern writer. Throughout this dissertation, I have tried to situate eight commencement addresses given by such prominent and dissimilar writers as W.J. Cash, William Faulkner, Wendell Berry, Will D. Campbell, Lee Smith, Clyde Edgerton, Maya Angelou, and Fred Chappell, within the context of the times in which they were delivered and within the speakers' written works. Through my analysis of these graduation talks, I discovered that southern writers typically abandon those repetitious conventions that render the commencement address forgettable in favor of the innovative techniques that were already at work in their written works.

This thesis aims to understand William Faulkner as an environmentally conscious author whose views on land abuse appear throughout his work. The goal is twofold: first, to examine how he criticizes ecological abuse; second, to discover which sources likely influenced him and helped him to form his perspectives on environmental issues.

This thesis is a consideration of the intertextual relationship between William Faulkner's Absalom, Absalom! and Toni Morrison's Song of Solomon. It considers the objectification and destruction of women and female-coded men in the service of the male protagonist's journey to selfhood, with particular focus on the construction of race, gender, and class performances.

This dissertation engages a number of currents of environmental criticism and rhetoric in an analysis of the poetry, fiction, and non-fiction of the southeastern United States. I examine conceptions of genitive relationships with the environment as portrayed in the work of diverse writers, primarily William Faulkner, Robert Penn Warren, W.E.B. Du Bois, Zora Neal Hurston, and Elizabeth Madox Roberts. Southern literature is rarely addressed in ecocritical studies, and to date no work offers an intensive and focused examination of the rhetoric employed in conceptions of environmental ownership. However, southern literature and culture provides fertile ground to trace the creation, development, and communication of environmental values because of its history of agrarianism, slavery, and a literary tradition committed to a sense of place. I argue that the concerns of the two main distinctive threads of environmental literary scholarship - ecopoetics and environmentalism of the poor - neatly overlap in the literature of the South. I employ rhetorical theory and phenomenology to argue that southern authors call into question traditional forms of writing about nature - such as pastoral, the sublime, and wilderness narratives - to reinvent and revitalize those forms in order to develop and communicate modes of reciprocal ownership of natural and cultural environments. These writers not only imagine models of personal and communal coexistence with the environment, but also provide new ways of thinking about environmental justice. The intersection of individual and social relationships with history and nature in Southern literature provides new models for thinking about environmental relationships and how they are communicated. I argue that expressions of environmental ownership and belonging suggest how individuals and groups can better understand their distance and proximity to their environments, which may result in new valuations of personal and social environmental relationships.

This thesis is an intersectional reading of William Faulkner’s novels The Sound and the Fury (1929), As I Lay Dying (1930) and Sanctuary (1931). This paper employs theories of masculinity and queer theory to examine the masculinities in the novels and their connection to blackness. It proceeds from Judith Butler’s book Bodies that Matter. The thesis focuses on the mixture of race, class, gender and sexuality in the novels. I claim that race sometimes is a mask for gender, class and sexuality in these texts. I argue that certain white characters are depicted as Afro-Americans because of their unmanly behavior and/or queer sexuality or low class. For masculinity theory I have used Jørgen Lorentzen and Claes Ekenstam’s concept of manly and unmanly, described in the anthology Män i Norden Manlighet och modernitet 1840-1940. I have also used Craig Thompson Friend’s Southern Masculinity: Perspectives on manhood in the South since Reconstruction and WJ Cash’s The Mind of the South. For the queer theory, I have used Judith Butler’s theories described in Gendertrouble and Bodies that Matter. / Den här uppsatsen är en intersektionell läsning av William Faulkners romaner The Sound and the Fury (1929), As I Lay Dying (1930) och Sanctuary (1931). Den här uppsatsen använder sig av maskulinitetsteori och queerteori för att undersöka maskuliniteterna i romanerna och deras förbindelse till svarthet. Den utgår från Judith Butlers bok Bodies that Matter. Uppsatsen fokuserar på blandningen av ras, klass, genus och sexualitet i texterna. Jag påstår att ras ibland agerar som en mask för genus, klass och sexualitet i de här texterna. Jag menar att vissa vita romanfigurer skildras som afroamerikaner på grund av sitt omanliga beteende och/eller queera sexualitet eller låga klass. Till maskulinitetsteorin har jag använt mig av Jørgen Lorentzen och Claes Ekenstams begrepp manlig och omanlig, beskrivna i antologin Män i Norden Manlighet och modernitet 1840-1940. Jag har även använt Craig Thomson Friends Southern Masculinity: Perspectives on manhood in the South since Reconstruction och WJ Cashs The Mind of the South. Till queer teorin har jag använt Judith Butlers teorier beskrivna i Gendertrouble och Bodies that Matter.

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.