The Faulkner Journal最新文献_第4页

"Objects Insignificant to Sight": Racial Violence and Empathy in Faulkner's "Pantaloon in Black" “看不见的物体”:福克纳《黑衣小丑》中的种族暴力与共情

The Faulkner Journal Pub Date : 2019-09-01 DOI: 10.1353/fau.2019.0020

John Lutz

{"title":"\"Objects Insignificant to Sight\": Racial Violence and Empathy in Faulkner's \"Pantaloon in Black\"","authors":"John Lutz","doi":"10.1353/fau.2019.0020","DOIUrl":"https://doi.org/10.1353/fau.2019.0020","url":null,"abstract":"An effort to lay bare the root causes of the empathy deficiency that enables the brutal practice of lynching lies at the very center of William Faulkner’s short masterpiece “Pantaloon in Black.” First published in 1940 as a chapter in the novel Go Down, Moses, “Pantaloon in Black” confronts the underlying psychological and social forces that legitimize lynching by humanizing its central African American character, Rider. Recent discoveries in neuroscience and social psychology concerning empathy can provide a useful vantage point for understanding Faulkner’s critique of racist violence in “Pantaloon in Black” and in Go Down, Moses more generally. The preponderance of evidence from these fields demonstrates that our emotional responses to the pain of others are hardwired into our brains and frequently felt with an involuntary immediacy over which we have little control. Feeling with others is a spontaneous, natural feature of our common humanity, a biological inheritance most likely developed as an adaptive trait in the process of human evolution. However, if our empathic responses to others are indeed a common biological inheritance, then how do we explain the apparent suspension of such responses in the inflicting of racist violence? In his research into empathic accuracy, William Ickes notes how negative frames of reference that “become inflexible, unyielding, and irrecon-","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"105 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131299553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Spaces of Remembering and Forgetting: On Antiracism 记忆与遗忘的空间:论反种族主义

The Faulkner Journal Pub Date : 2019-09-01 DOI: 10.1353/fau.2019.0026

Thadious M. Davis

{"title":"Spaces of Remembering and Forgetting: On Antiracism","authors":"Thadious M. Davis","doi":"10.1353/fau.2019.0026","DOIUrl":"https://doi.org/10.1353/fau.2019.0026","url":null,"abstract":"One of the ways in which racism functions so efficiently and continuously is in its ability to obscure, deny, or ignore what majority culture appropriates and takes from minority cultures. That strategy often results in an accepted popular wisdom that minorities produce and create little of value and that they themselves are largely valueless. In the late twentieth century and early twenty-first century, scholars forged ahead with changing such perceptions and recognizing minority contributions; the more obvious recognitions were in terms of music and popular culture. But it is much different in literary studies. Critics generously observe how majority writers contribute to work of minority authors. Rarely is there a mention of the reverse. How often are students of literature reminded that Toni Morrison wrote her masters thesis on William Faulkner and Virginia Woolf? Yet are they routinely told of the white writers who found their inspiration in Morrison’s works? I attempted to forward the reverse discourse in “Lingering in the Black: Faulkner’s Illegible Modernist Sound Melding” by focusing on how William Faulkner early on found actual models and inspiration in the published works of Black writers and in the sounds those Black writers voiced in their characters and art. In that essay for the 2013 Faulkner conference on “Faulkner and the Black Literatures of America,” I also pointed to other modernist literary critics, such as Michael North, Laura Winkiel, and Aldon Lynn Nielsen, who have made important forays into explicating patterns of the reverse flow of materials from minority to majority writers. Typically they pursued the ways in which Black orality filtered into the work of white modernism writers, such as T. S. Eliot and Gertrude Stein. While signaling the significance of these scholarly contributions in reading the relationship of white writers to Black voice and vernacular, I wanted especially to foreground that in his early writings Faulkner had entered an intersubjective space that involved published texts written by","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130778670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Baldwin, Individualism, and the Means of White Self-Empowerment 鲍德温，个人主义和白人自我赋权的手段

The Faulkner Journal Pub Date : 2019-09-01 DOI: 10.1353/fau.2019.0028

Amy A. Foley

{"title":"Baldwin, Individualism, and the Means of White Self-Empowerment","authors":"Amy A. Foley","doi":"10.1353/fau.2019.0028","DOIUrl":"https://doi.org/10.1353/fau.2019.0028","url":null,"abstract":"In his essay “Faulkner and Desegregation,” published in Nobody Knows My Name, James Baldwin clarifies William Faulkner’s two vocal perspectives written in separate essays, one against segregation and the other “just as strongly against compulsory integration” (86). There can be no doubt as to the impact of Baldwin’s contribution in his brief critique of Faulkner’s apparent double mindedness, that Faulkner “means everything he says, means them all at once, and with very nearly the same intensity” (Nobody 121). Faulkner’s now-famous utterance during an interview that he would “fight for Mississippi against the United States even if it meant going out into the street and shooting Negroes” (Lion in the Garden 261) still rests uneasily alongside his previous vocal support of the NAACP. It is clear from Baldwin’s essay that he takes no issue with Faulkner’s seemingly contradicting viewpoints; rather, Faulkner’s “in the middle” pathology and his daring suggestion to “Go slow now” are the provocation for Baldwin’s formulation of a moderate white positioning toward race politics. The publication dates between Faulkner’s gradualism presented in his September 1956 Ebony publication “A Letter to the Leaders in the Negro Race” and Baldwin’s Partisan Review essay published in winter of the same year further suggest the place of Baldwin’s essay as a response to Faulkner’s own manifestations of white self-empowerment, individualism, and double mindedness. Scholars have drawn attention to the importance of Baldwin’s claim that Faulkner is not exceptional but rather archetypal of white Southern race ideology in his defense of the South against the United States. Baldwin’s critique of Faulkner is an essential intertextual complement and case study in relation to Baldwin’s other writings which disassemble white identity in America. Our reading of Baldwin’s essay is also greatly enriched by an understanding of his overall approach to literary critique, which is to illuminate the oversimplification of racism within the protest novel (Williams 56). In the example of Faulkner, Baldwin points","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128234727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

An Error in Chemistry 化学上的错误

The Faulkner Journal Pub Date : 2019-05-30 DOI: 10.1353/FAU.2019.0003

W. Faulkner, John N. Duvall

{"title":"An Error in Chemistry","authors":"W. Faulkner, John N. Duvall","doi":"10.1353/FAU.2019.0003","DOIUrl":"https://doi.org/10.1353/FAU.2019.0003","url":null,"abstract":"It was Joel Flint himself who telephoned the sheriff that he had killed his wife. And when the sheriff and his deputy reached the scene, drove the twenty-odd miles into the remote back-country region where old Wesley Pritchel lived, Joel Flint himself met them at the door and asked them in. He was the foreigner, the outlander, the Yankee who had come into our county two years ago as the operator of a pitch—a lighted booth where a roulette wheel spun against a bank of nickel-plated pistols and razors and watches and harmonicas—in a travelling street carnival and who when the carnival departed had remained, and two months later was married to Pritchel’s only living child: the dim-witted spinster of almost forty, who until then had shared her irascible and violent-tempered father’s almost hermit-existence on the good though small farm which he owned. But even after the marriage, old Pritchel still seemed to draw the line against his son-in-law. He built a new small house for them two miles from his own, where the daughter was presently raising chickens for the market. According to rumor old Pritchel, who hardly ever went anywhere anyway, had never once entered the new house, so that he saw even this last remaining child only once a week. This would be when she and her husband would drive each Sunday in the second-hand truck in which the son-in-law marketed the chickens, to take Sunday dinner with old Pritchel in the old house where Pritchel now did his [end ts 1] own cooking and housework. In fact, the neighbors said the only reason he allowed the sonin-law to enter his house even then was so that his daughter could prepare him a decent hot meal once a week. So for the next two years, occasionally in Jefferson, the county seat, but more frequently in the little cross-roads hamlet near his home, the sonin-law would be seen and heard too. He1 was a man in the middle forties,","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115681920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Following Faulkner: The Critical Response to Yoknapatawpha's Architect by Taylor Hagood (review) 继福克纳之后:对约克纳帕塔法的《建筑师》的批判性回应泰勒·哈古德(书评)

The Faulkner Journal Pub Date : 2019-05-30 DOI: 10.1353/FAU.2019.0008

P. Lurie, Theresa M. Towner

引用次数: 0

"Once a Bitch, Always a Bitch": Rereading Caddy in The Sound and the Fury “一朝贱，终身贱”:重读《喧哗与骚动》中的凯迪

The Faulkner Journal Pub Date : 2019-05-30 DOI: 10.1353/FAU.2019.0004

Susanna Hemsptead

引用次数: 1

When Difference Becomes Dangerous: Intersectional Identity Formation and the Protective Cover of Whiteness in Faulkner's Light in August 当差异变得危险:福克纳《八月之光》中交叉性的身份形成与白色的保护层

The Faulkner Journal Pub Date : 2019-05-30 DOI: 10.1353/FAU.2019.0005

R. Nisetich

{"title":"When Difference Becomes Dangerous: Intersectional Identity Formation and the Protective Cover of Whiteness in Faulkner's Light in August","authors":"R. Nisetich","doi":"10.1353/FAU.2019.0005","DOIUrl":"https://doi.org/10.1353/FAU.2019.0005","url":null,"abstract":"In the last thirty years, scholars have productively explored Faulkner’s oeuvre through identity categories such as race, gender, sexuality, class, and nationhood. A simple perusal of back issues of The Faulkner Journal demonstrates this point: Faulkner’s Indians, Faulkner and Sexuality, Faulkner and Whiteness, Faulkner and Feminisms, Faulkner and Masculinity. Foundational to the field are book-length studies such as Thadious Davis’s Faulkner’s Negro, Minrose Gwin’s The Feminine and Faulkner, etc. As these titles suggest, our scholarship tends to privilege single lenses of inquiry. And yet, a multiplicity of readings is possible precisely because Faulkner’s work demonstrates a fact fundamental to the theory of intersectionality: “the greater the number of marginal categories to which one belongs, the greater the number of disadvantages one will experience” (Carbado 813). Years before Kimberlé Crenshaw coined the term, Faulkner implicitly understood how “intersectionality” worked. Indeed, his distinct layering of identity categories and explorations of difference is what makes it possible to read Faulkner’s work through so many different lenses in the first place. In literary studies, we have amassed an extraordinarily diverse body of scholarship that treats identity categories as if they operate in parallel to each other, rather than in conversation with one another. In Faulkner studies, we have tended to articulate one identity category by mediating it through the lens of others. For example, Aliyyah Abdur-Rahman explores the interconnections between racial identity and homoeroticism in “White Disavowal, Black Enfranchisement, and the Homoerotic in Light in August,” but her reading ultimately posits racial ambiguity as defining Faulkner Journal The","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126100840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

"A Death Like the Rebel Angels": Cather and Faulkner Expose the Myth of Aerial Chivalry in One of Ours and Soldiers' Pay “像反叛天使一样的死亡”:凯瑟和福克纳在《我们中的一个》和《士兵的报酬》中揭露空中骑士的神话

The Faulkner Journal Pub Date : 2019-05-30 DOI: 10.1353/FAU.2019.0006

K. Dougherty

{"title":"\"A Death Like the Rebel Angels\": Cather and Faulkner Expose the Myth of Aerial Chivalry in One of Ours and Soldiers' Pay","authors":"K. Dougherty","doi":"10.1353/FAU.2019.0006","DOIUrl":"https://doi.org/10.1353/FAU.2019.0006","url":null,"abstract":"A prominent banner atop the June 26th, 1916 edition of the New York Evening World read “N.Y. Flier Meets Heroic Death in Air Battle.” The article’s subheading proclaimed that the flier in question, Corporal Victor Chapman, “Dashed Fearlessly to Aid of Fellow Aviators Confronted by Superior Force” (Victor). The death of Victor Chapman in the skies over France a few days earlier was notable not only because he was the first American aviator to die in World War I, but because of the persistent myth created around it. An American pilot flying with the French in the newly created Escadrille Americaine, Chapman died when he attacked a superior flight of German aircraft to defend his comrades. Contemporary accounts of his death emphasize his heroism and idealism, reflecting the trend of American newspapers, in the spring and summer of 1916, to report on the exploits of America’s new “air heroes.” In the reports of Chapman’s death, as Samuel Hynes notes, “a myth is in the making” (23). Arising a mere five years after the first use of aircraft in combat in 1911, the myth of the aviator hero was new and exciting, conflating an icon of modernity with the ancient elements of chivalry. The myth of aerial chivalry begs interrogation because it represented the air war as a clean war by masking the death and injuring of the aviator. This romantic myth cloaked the aviator in idealism and hid the damaged body of the flyer in rhetoric. In this war of increasing mechanization, the air war was lauded as the last bastion of individual, man-to-man combat; as such, the chivalric myth captured the hearts of the public, painting the aviators as knights of the air and romanticizing both their kills and their deaths in legends of glory.1","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124066924","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

"An Error in Chemistry": The Final Typescript “化学中的一个错误”:最后的打字稿

The Faulkner Journal Pub Date : 2019-05-30 DOI: 10.1353/FAU.2019.0002

John N. Duvall

{"title":"\"An Error in Chemistry\": The Final Typescript","authors":"John N. Duvall","doi":"10.1353/FAU.2019.0002","DOIUrl":"https://doi.org/10.1353/FAU.2019.0002","url":null,"abstract":"The version of “An Error in Chemistry” we read today in the Vintage International edition of Knight’s Gambit is the same one readers of Ellery Queen’s Mystery Magazine (EQMM) encountered in the June 1946 issue. In setting the type for the first edition of Knight’s Gambit in 1949, Random House simply used tearsheets from EQMM, and every subsequent edition of this collection, featuring Gavin Stevens’s detective work, uses the text as copyedited by Frederic Dannay. Along with his cousin Manfred Bennington Lee, Dannay began writing popular detective fiction in 1928 under the pen name Ellery Queen. However, Dannay alone edited EQMM, which was established in 1941. I present here an edition of “An Error in Chemistry,” based on the copyedited typescript, that restores, as nearly as possible, Faulkner’s final prepublication intentions for this story. Although Dannay was an important advocate for Faulkner’s fiction and introduced Yoknapatawpha County to a large postwar audience, the changes he made to “An Error in Chemistry” during copyediting point to why a scholarly edition of Knight’s Gambit would sharpen our understanding of a key moment in Faulkner’s career (following World War II but before Faulkner wins the Nobel Prize) when his critical reputation had ebbed. The story of Faulkner’s connection to EQMM, as well as a fuller textual history of “An Error in Chemistry,” form part of the larger narrative of how Faulkner entered the canon of American literature. In the third week of September 1945, Faulkner sent his agent, Harold Ober, a revised 28-page typescript of “An Error in Chemistry” for publication in EQMM. This final typescript of the story, part of the Frederic Dannay Papers at Columbia University’s Rare Book and Manuscript Library,","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115350951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Dying of the Stranger's Disease: Yellow Fever, Narrative Space, and the Art of Exclusion in Absalom, Absalom! 死于陌生人的疾病:《押沙龙，押沙龙!》中的黄热病、叙事空间和排斥艺术

The Faulkner Journal Pub Date : 2019-05-30 DOI: 10.1353/FAU.2019.0007

Edward Clough

引用次数: 1