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Faulkner, William, --- Absalom, Absalom! (Faulkner, William) --- Southern States --- In literature.
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Philip Weinstein explores the modernist commitment to "unknowing" by addressing the work of three supreme experimental writers: Franz Kafka, Marcel Proust, and William Faulkner. In their novels, the narrative props that support the drama of coming to know are refused. When space turns uncanny rather than lawful, when time ceases to be linear and progressive, objects and others become unfamiliar. So does the subject seeking to know them. Weinstein argues that modernist texts work, by way of surprise and arrest, to subvert the familiarity and narrative progression intrinsic to realist fiction. Rather than staging the drama of coming to know, they stage the drama of coming to unknow. The signature move of modernism is shock, just as resolution is the trademark of realism.Kafka, Proust, and Faulkner wrought their most compelling experimental effects by undermining an earlier Enlightenment project of knowing. Weinstein draws on major Enlightenment thinkers to identify constituent components of the narrative of "coming to know"-the progressive narrative underwriting two centuries of Western realist fiction. The book proceeds by framing modernist unknowing between prior practices of realist knowing, on the one hand, and, on the other, certain later practices-postmodern and postcolonial-that move beyond knowing altogether. In so doing, Weinstein proposes a metahistory of the Western novel, from Daniel Defoe to Toni Morrison.
Knowledge, Theory of, in literature. --- Modernism (Literature) --- Fiction --- History and criticism. --- Faulkner, William, --- Proust, Marcel, --- Kafka, Franz, --- Criticism and interpretation.
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Sculpture --- assemblages [sculpture] --- Eerste Wereldoorlog --- reliefs [sculptures] --- sculpture [visual works] --- cadastral maps --- stairs --- Schlemmer, Oskar --- Breedam, van, Camiel --- Soutine, Chaïm --- Faulkner, William --- Breedam, Van, Camiel --- stairs [series of steps]
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Philip Weinstein explores the modernist commitment to "unknowing" by addressing the work of three supreme experimental writers: Franz Kafka, Marcel Proust, and William Faulkner. In their novels, the narrative props that support the drama of coming to know are refused. When space turns uncanny rather than lawful, when time ceases to be linear and progressive, objects and others become unfamiliar. So does the subject seeking to know them. Weinstein argues that modernist texts work, by way of surprise and arrest, to subvert the familiarity and narrative progression intrinsic to realist fiction. Rather than staging the drama of coming to know, they stage the drama of coming to unknow. The signature move of modernism is shock, just as resolution is the trademark of realism.Kafka, Proust, and Faulkner wrought their most compelling experimental effects by undermining an earlier Enlightenment project of knowing. Weinstein draws on major Enlightenment thinkers to identify constituent components of the narrative of "coming to know"-the progressive narrative underwriting two centuries of Western realist fiction. The book proceeds by framing modernist unknowing between prior practices of realist knowing, on the one hand, and, on the other, certain later practices-postmodern and postcolonial-that move beyond knowing altogether. In so doing, Weinstein proposes a metahistory of the Western novel, from Daniel Defoe to Toni Morrison.
Knowledge, Theory of, in literature. --- Modernism (Literature) --- Fiction --- History and criticism. --- Faulkner, William, --- Proust, Marcel, --- Kafka, Franz, --- Criticism and interpretation. --- Knowledge, Theory of, in literature --- History and criticism --- Kafka, Franz --- Proust, Marcel --- Modernism (Literature).
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Cet ouvrage trouve sa source dans le monologue de l'idiot Benjy Compson sur lequel s'ouvre The Sound and the Fury de William Faulkner(1929). Narré par un idiot muet et condamné à l'hébétude, ce monologue constitue un discours impossible. Construit sur le primat de la sensation et sur la prééminence des choses sur les idées, ce discours élabore cependant une véritable esthétique de l'idiotie. Le choix de placer un idiot au centre de la perception et à la source première de la narration de The Sound and the Fury peut de fait être considéré comme le geste précurseur et emblématique de l'écriture faulknérienne. À travers l'analyse détaillée de textes empruntés à l'ensemble du corpus faulknérien, ce livre vise à montrer que le monologue de l'idiot Benjy Compson constitue un vaste champ d'expérimentation où tout objet est remodelé par le travail des sens : ainsi, le filtre de la perception de l'idiot donne-t-il naissance à un monde singulier et inédit. Les figures corporelles, temporelles, sensorielles et narratives de l'idiotie se réfractent tout au long de l'oeuvre de Faulkner dans le sillagede ce texte inaugural. C'est donc à travers les formes d'une idiotie initiale et initiatique que l'écriture de Faulkner accède à sa spécificité. À l'origine de l'œuvre, l'idiotie organise d'un seul mouvement l'espace du monde et celui du langage faulknériens.
Stupidity in literature. --- Mental retardation in literature. --- Faulkner, William, --- Criticism and interpretation. --- Characters --- People with mental disabilities. --- US literature --- 20th century --- Criticism --- Mental retardation in literature --- Falkner, William, --- Fōkunā, Wiriamu, --- Фолкнер, Уильям, --- Folkner, Uilʹi︠a︡m, --- Fo-kʻo-na, --- Phōkner, Ouilliam, --- Fo-kʻo-na, Wei-lien, --- Fu-kʻo-na, --- Fu-kʻo-na, Wei-lien, --- Falkner, William Cuthbert, --- Pʻookʻŭnŏ, William, --- Foḳner, Ṿilyam, --- Pʻolkneri, Uiliam, --- K̲apākn̲ar, Villiyam, --- Fāknir, Vīlīyām, --- פוקנר --- פוקנר, וויליאם --- פוקנר, ויליאם, --- פוקנר, ןיליאם --- 福克纳威廉, --- Trueblood, Ernest V., --- idiotie --- Faulkner --- The sound and the Fury --- Intellectual disability in literature.
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