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作者 Skinfill, Mauri Luisa
書名 Modernism unlimited [electronic resource] : class and critical inquiry in Faulkner's late novels (William Faulkner)
出版項 1999
國際標準書號 0599713488
book jacket
館藏地 索書號 處理狀態 OPAC 訊息 條碼
 歐美所圖書館微縮室    網路化文獻  -  i37777518
說明 142 p
附註 Source: Dissertation Abstracts International, Volume: 61-03, Section: A, page: 0990
Chair: Carolyn Porter
Originally published in paper form (150 p.). EAS holding is in electronic book(pdf form) and 11 books are together on a CD-ROM.
UMI number:9966578
Thesis (Ph.D.)--University of California, Berkeley, 1999
This project investigates how the shifting viability of class as a category of critical interpretation has informed the critical history of Faulkner's late novels as well as delimited the canonical boundaries of American modernism itself as genre. In contrast to the governing literary-critical account of modernism as a crisis of formal representation, the dissertation foregrounds the preoccupation with class ideology in the career of a representative American modernist. I argue that as a sustained interrogation of American class structures, William Faulkner's work provides us with a critical vantage point from which to reconfigure the experimental formalism to which modernist literature has been consigned, initially by a New Critical methodology which excluded social history from its interpretive scope, and more recently by post-structuralist literary theory which has tended to reduce the historical character of modernism to an expression of philosophical fragmentation. By contrast, Faulkner's late work in the Snopes trilogy offers a modernist register of historical debates from which we can begin to theorize some of the tensions embedded in American class ideology, most essentially the conflict between a vision of democratic community and the compulsions of bourgeois individualism. In a reading of the Snopes novels which focuses on Faulkner's evolving representations of American class mobility, I trace the discovery and fitful development of class as a category through which Faulkner interprets American identity and social history
Chapter One explores Faulkner's response in <italic>Absalom, Absalom! </italic> to the foundational myth of American social mobility originated by Benjamin Franklin's <italic>Autobiography</italic>. Subsequent chapters strike out from the period comprising Faulkner's now canonical work—the 1930s—in order to trace the conceptual evolution of class in the later novels. Chapter Two explores Faulkner's ambivalent but increasingly sympathetic relation toward the New South sharecropper-turned-entrepreneur as it is registered in the generic shifts and textual revisions of <italic>The Hamlet</italic>. Chapter Three focuses on Faulkner's rhetorical strategy of naming characters after commercial institutions—Montgomery Ward Snopes, Wallstreet Panic Snopes—and locates <italic>The Town</italic> and <italic>The Mansion </italic> among literary and historiographical debates about the relation of commercial culture to class identity. Ultimately I suggest that the late novels' increasingly explicit relation to American social history has determined their marginal position in the Faulkner canon, and ask how the critical oppositions defining modernism have potentially delimited interpretive practices for other key texts in the tradition: the narratives of failed social mobility in Dreiser, Wharton, Fitzgerald, and Wright, I suggest, foreground a distinct tradition of class critique within modernism which Faulkner's own neglected work itself begins to define and which might productively complicate the existing generic boundaries of modernism and modernist critical scholarship
School code: 0028
Related Wrk Digital Dissertation Consortium (EAS)
Host Item Dissertation Abstracts International 61-03A
主題 Literature, American
Literature, Modern
American Studies
Alt Author University of California, Berkeley
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