By Annette Trefzer, Ann J. Abadie
William Faulkner grew up and commenced his writing occupation in the course of a time of serious cultural upheaval, specially within the realm of sexuality, the place each normative proposal of identification and courting was once being re-examined. not just does Faulkner discover a number of models of sexuality all through his paintings, yet he additionally reviews the sexual size of assorted social, financial, and aesthetic concerns.In Faulkner's Sexualities, individuals question Faulkner's existence and fiction by way of sexual identification, sexual politics, and the ways that such issues have an effect on his aesthetics. Given the widespread play with sexual norms and practices, how does Faulkner's fiction represent the sexual topic on the subject of the dynamics of the physique, language, and tradition? In what methods does Faulkner perform discourses of masculinity and femininity, wish and replica, heterosexuality and homosexuality? In what methods are those discourses certain up with representations of race and ethnicity, modernity and beliefs, area and country? In what methods do his texts contact on questions in regards to the racialization of different types of gender inside of colonial and dominant metropolitan discourses and tool family members? Is there a Southern sexuality? This quantity wrestles with those questions and relates them to theories of race, gender, and sexuality.
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Extra info for Faulkner's Sexualities (Faulkner and Yoknapatawpha Series)
Example text
As scholars have consistently noted, the youthful Faulkner was a devoted practitioner of modernist calligraphy and penand-ink drawing à la Aubrey Beardsley, as evinced by the illustrations in The Marionettes, the sketches in his letters, and his early cartoons. Trained as an architect at Auburn, employed as a draftsman in Montgomery before coming to New Orleans, and hired to teach architecture at Tulane, Spratling filled his time in the Quarter sketching and painting, often illustrating texts documenting southern Louisiana’s historic buildings, and, after his permanent expatriation to Mexico in 1929, he extensively designed silver jewelry and other objets d’art.
26 It is worth noting that, in refusing the consolations of historicism, we bring our textual experience closer to that of Faulkner’s earliest readers, who repeatedly remarked on the perverse violence and extremism of his texts. Thus the “unhistoricist” approach gives us another entry into literary history, with the difference being that today we have revised critical tools for examining literary representations of the perverse or the extreme. Reading Faulkner’s sexualities in this way gives us an “antihistoricist way of formulating .
22. Theresa M. Towner and James B. Carothers, Reading Faulkner: Collected Stories (Jackson: University Press of Mississippi, 2006), 415, 423, 431, 448. 23. Theodor W. Adorno, “Music and Language: A Fragment,” in Quasi Una Fantasia: Essays on Modern Music, trans. Rodney Livingstone (New York: Verso, 1998), 4. 20 c at h e r i n e g u n t h e r k o d at 24. William Faulkner, “The Leg,” in Collected Stories (1950; New York: Vintage Books, 1977), 834. Page numbers for subsequent quotations from this text will be given parenthetically within the body of the essay.
