scholarly journals Estrutura e significado em "Uma rosa para Emily", de William Faulkner

2004 ◽  
Vol 4 (1) ◽  
pp. 37-53
Author(s):  
Carlos Daghlian
Keyword(s):  
Charles Dickens ◽  
William Faulkner ◽  
Herman Melville ◽  
Henry James ◽  
William Blake ◽  
Emily Dickinson ◽  
Robert Browning ◽  
Sherwood Anderson ◽  
John Crowe Ransom

Trata-se de uma análise do consagrado conto "Uma Rosa para Emily", de William Faulkner, voltada para alguns dos principais aspectos de sua estrutura. Após considerarmos o enredo, discutimos a construção das personagens, com destaque para a protagonista, fazendo um levantamento e comentários sobre possíveis fontes de inspiração, destacando, entre outras, aspectos da biografia da poeta Emily Dickinson, a ficção e a poesia de E. A. Poe, romances de Charles Dickens e Henry James, o conto de Sherwood Anderson e a poesia de William Blake, Emily Dickinson, Robert Browning e John Crowe Ransom, acrescentando paralelos com o conto "Bartleby, o escrivão", de Herman Melville. Analisamos, então, o foco narrativo, os símbolos e o significado, ressaltando aqui o desenvolvimento temático da narrativa.

Early Mentors: Hamilton, Williamson, and Brackett

2017 ◽  
Author(s):  
Jonathan R. Eller
Keyword(s):  
Science Fiction ◽  
William Faulkner ◽  
Emily Dickinson ◽  
Samuel Johnson ◽  
Alexander Pope ◽  
Eudora Welty ◽  
Sherwood Anderson ◽  
Reading And Writing ◽  
Reading Interests ◽  
Literary Education

This chapter focuses on three mentors that influenced Ray Bradbury as a writer: Edmond Hamilton, Jack Williamson, and Leigh Brackett. Bradbury was in the early stages of a process of literary education that began roughly from 1934 and lasted until 1953. During the early 1940s, his own maturing reading interests were enriched from time to time by friends like Henry Kuttner, who introduced him to the fiction of writers such as Sherwood Anderson, Eudora Welty, Charles Jackson, William Faulkner, Thorne Smith, and John Collier. This chapter examines how Brackett and Hamilton broadened Bradbury's reading and writing horizons throughout the early 1940s, citing in particular Brackett's influence on Bradbury's science fiction and Hamilton's introduction of Bradbury to authors such as Samuel Johnson, Alexander Pope, and Emily Dickinson. The chapter also considers Bradbury's fascination with Williamson's fantasy and horror tales, including the werewolf novel, Darker than You Think.

The Poetics of American Civil War Sacrifice

2018 ◽  
Author(s):  
Randall Fuller
Keyword(s):  
Civil War ◽  
Herman Melville ◽  
Walt Whitman ◽  
Body Politic ◽  
Emily Dickinson ◽  
American Civil War ◽  
The Body ◽  
The Sacrifice

The nature and meaning of sacrifice were fiercely contested in the aftermath of the American Civil War. Historians have documented a long struggle by veterans to ensure the continuing remembrance of their sacrifice. At the same time, American politicians tended to demur from acknowledging these sacrifices, as doing so would reopen the rift that had prompted war in the first place. This chapter probes the work of three Civil War poets—Emily Dickinson, Herman Melville, and Walt Whitman—to uncover the meaning of sacrifice during and after the war. Dickinson’s verses about psychic pain and dislocation are increasingly understood as simultaneous expositions of the personal and political: Melville’s knotty, multi-perspectival poems about the war, Battle-Pieces, question the ideological freight of sacrifice, and Whitman sought to honour the sacrifice of soldiers through a poetics he hoped would heal the body politic. Ultimately only Whitman’s consolatory poetry would find a postwar audience.

American Obscurantism

2018 ◽  
Author(s):  
Peter Lurie
Keyword(s):  
American Literature ◽  
William Faulkner ◽  
Herman Melville ◽  
Edgar Allan Poe ◽  
Hart Crane ◽  
Stanley Kubrick ◽  
Early Twenty ◽  
Racial History ◽  
Late Twentieth ◽  
Ongoing Development

American Obscurantism argues for a salutary indirection in U.S. culture. From its earliest canonical literary works through films of the late twentieth and early twenty-first centuries, the most compelling manifestations of America’s troubled history have articulated this content through a unique formal and tonal obscurity. Envisioning the formidable darkness attending racial history at nearly every stage of the republic’s founding and ongoing development, writers such as William Faulkner and Hart Crane, and directors like the Coen brothers and Stanley Kubrick, present a powerful critique of American conquest, southern plantation culture, and western frontier ideology. American Obscurantism engages the basis of these explorations in Edgar Allan Poe and Herman Melville, each of whom present notable occlusions in their characters’ racial understanding, an obtuseness or naivety that is expressed by a corresponding formal opacity. Such oblique historicity as the book describes allows a method at odds with—and implicitly critical of—the historicizing trend that marked literary studies in the wake of the theoretical turn. The book thus restores an emphasis on aesthetic and medium-specific features to argue for a formalist historicity. Working through challenges to an implicitly white, bourgeois, heteronormative polity, American Obscurantism posits an insistent, vital racial otherness at the heart of American literature and cinema. It examines this pattern across a canon that shows more self-doubt than assuredness, arguing for the value of openness and questioning in place of epistemological or critical certainty.

Emily Dickinson and the Battle of Ball's Bluff

PMLA ◽  
2009 ◽  
Vol 124 (5) ◽  
pp. 1582-1599 ◽  
Author(s):  
Benjamin Friedlander
Keyword(s):  
Civil War ◽  
Herman Melville ◽  
Emily Dickinson ◽  
Literary Marketplace ◽  
Local Newspapers

Emily Dickinson's response to the Civil War—once discounted as nonexistent or negligible, now embraced as part of the canon of Civil War writing—gives evidence of a conscious testing of alternatives. Among these alternatives, the most surprising, perhaps, is her potentially public positioning of herself as a war poet in works that celebrate military heroism. One such celebration, “When I was small, a Woman died—,” written in the aftermath of Ball's Bluff—a disastrous Union loss—revises the scenarios presented in two other Ball's Bluff poems and transforms the horrific death of a local soldier into a glorious ascent into the heavens, an uncharacteristically joyous response to an event that others (including Herman Melville) experienced as entirely mournful. Since the two other poems appeared in her local newspapers and since the soldier was Amherst's first casualty, Dickinson's poem is likely a carefully crafted bid for publication. Read in this way, moreover, “When I was small” reminds us that war presents a poet with unique rhetorical problems but also with opportunities, and that these opportunities can be tempting even for a writer as resistant to the literary marketplace as Dickinson.

scholarly journals The preface as stage: the theatrical trope and the performance of authorial identities in the nineteenth century

2017 ◽  
Vol 70 (1) ◽  
pp. 265
Author(s):  
Geraldo Magela Cáffaro
Keyword(s):  
Nineteenth Century ◽  
Charles Dickens ◽  
Nathaniel Hawthorne ◽  
Henry James

http://dx.doi.org/10.5007/2175-8026.2017v70n1p265Esse artigo explora referências ao teatro em prefácios de Charles Dickens, Nathaniel Hawthorne e Henry James. Ênfase é dada à forma como esses autores empregam figuras como o mestre de cerimônias e o dramaturgo para alcançar seus públicos e projetar imagens autorais. As figuras em questão são historicizadas e discutidas sob a luz dos conceitos identificados pelos termos performativo e teatro de imagens, e o argumento proposto é o de que referências ao teatro revelam tensões entre a autoexposição e a autoproteção, assim como entre a afirmação da autoridade e sua subversão e fragmentação na escrita de prefácios no século XIX.

Transatlantic Transformations of Romanticism

2020 ◽  
Author(s):  
Mark Sandy
Keyword(s):  
Nineteenth Century ◽  
William Faulkner ◽  
Second Generation ◽  
Literary Culture ◽  
Henry David Thoreau ◽  
Emily Dickinson ◽  
Natural World ◽  
Wallace Stevens ◽  
First Century ◽  
British Romanticism

This book presents innovative readings of literary works of British Romanticism and its influence on twentieth- and twenty-first-century American literary culture and thought. It traverses the traditional critical boundaries of prose and poetry in American and Romantic and post-Romantic writing. Analysing significant works by nineteenth-century writers, including Ralph Waldo Emerson, Henry David Thoreau and Emily Dickinson, as well as the later writings of William Faulkner, F. Scott Fitzgerald, Saul Bellow, Toni Morrison and Wallace Stevens, the book reasserts the significance of second-generation Romantic writers for American literary culture. Sandy reassesses our understanding of Romantic inheritance and influence on post-Romantic aesthetics, subjectivity and the natural world in the American imagination.

The Double Dealers in Bohemian New Orleans

2017 ◽  
Author(s):  
Joanna Levin
Keyword(s):  
New Orleans ◽  
William Faulkner ◽  
Local Institutions ◽  
Sherwood Anderson ◽  
French Quarter ◽  
Dominant Ideologies ◽  
Literary Journal ◽  
Fault Lines ◽  
Southern City

This chapter chronicles New Orleans as the first Southern city widely associated with bohemianism, where the Creole heritage and the French Quarter provided one of the likeliest stand-ins for the original homeland of bohemia--the Parisian Latin Quarter--in the nation. Bohemianism flourished in the New Orleans of the 1920s, taking root in a series of local institutions, including the modernist literary journal the Double Dealer. The journal carefully navigated bohemian-bourgeois tension, the modern and the traditional, the conservative and the progressive. Featuring such writers as Sherwood Anderson and William Faulkner, the New Orleans bohemia that existed on and off the pages of the Double Dealer provided a liminal territory, alternately challenging and reinforcing dominant ideologies and mediating a series of social and cultural divides. The lively, engaging, and frustrating "talk, talk, talk" (in Faulkner's words) that circulated between Double Dealer publications and the extended dialogues featured in Faulkner's roman à clef, his apprentice novel Mosquitoes (1927), reveal the gendered, racial, socioeconomic, regional, national, and temporal fault lines at the base of this Southern bohemia.

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