Presentation on theme: "Senior Project Presentation"— Presentation transcript:
1 Senior Project Presentation As I Lay Dyingand CubismThemes and Motifsby Michael Stultz
2 “No man is himself, he is the sum of his past “No man is himself, he is the sum of his past. There is no such thing really as was because the past is. It is a part of every man, every woman, and every moment. All of his and her ancestry, background, is all a part of himself and herself at any moment.”Thesis
3 William Faulkner ( )Greatest American Southern writer, won the Nobel Prize for Literature, 1950A master of modernist experimentation in the novel, related to his obsession with timestream of consciousness, temporal shifts, and multiple voicesSome major novels: The Sound and the Fury (1929) [4 narrators], As I Lay Dying (1930) [15 narrators], Absalom! Absalom! (1936)
11 Faulkner’s Mississippi 2,400 square miles;the population, 6,298 whites and 9,313 Negroes, for a total of 15,611
12 What is the American South? “You're in the American South now, a proud region with a distinctive history and culture. A place that echoes with names like Thomas Jefferson and Robert E. Lee, Scarlett O'Hara and Uncle Remus, Martin Luther King and William Faulkner, Billy Graham, Mahalia Jackson, Muhammad Ali, Elvis Presley. Home of the country blues and country music, bluegrass and Dixieland jazz, gospel music and rock and roll. Where menus offer both down-home biscuits and gravy and uptown shrimp and grits. Where churches preach against "cigarettes, whiskey, and wild, wild women" (all Southern products) and where American football is a religion.”- From John Shelton Reed's My Tears Spoiled My Aim
13 Modern Similarities As I Lay Dying is like the TV show Desperate Housewives: told invoice-over by a womanwho is already dead.Faulkner’s charactersshare inner thoughtsthrough voiceovers.
14 Modern Similarities As I Lay Dying is like the movie Pulp Fiction: told from multiple viewpointsand in a non-linear plot.Example: Vincent Vega getsshot and killed, but then he’sin the last scene (whichbegins the movie).
15 Major MotifsEarth: Addie’s destination Water: (flood) river crossing Fire: barn-burning Air: the smell of Addie’s rotting corpse
16 a. History and race Major Themes b. Deterioration (of the family, the South, words) c. Conflicts between generations, classes, races,man and environmentd. Horror, violence and the abnormalFeatures of his works a. complex plot b. stream of consciousness c. characterization: the psychology of characters d. violation of chronology e. courtroom rhetoric: formal language f. multiple point of view, circular formcontinueexit
17 The Mind vs. The Body Critic Edmond Volpe says of Faulkner’s work: “Faulkner dramatizes the recognition that the human body must exist in chronological time, the mind does not funtions within the boundries placed on the human body. The mind fuses past, present, and future. Because we think beyond clock measured time and because what we do today is shaped by what happened yesterday, ‘Yesterday, today, and tomorrow are IS: Indivisible. One.’”
18 Anse Bundren: patriarch of the Bundren family Innner NarratorsAnse Bundren: patriarch of the Bundren familyAddie: Anse’s dying (then dead) wifeCash: (30) the eldest son, the best carpenter in the areaDarl: (28) the second son, sensitive, cruel and intuitiveJewel (18) the third son, favoring actions over wordsDewey Dell (17): the only Bundren daughterVardaman (9): the youngest Bundrenexit
19 Whitfield: the local preacher Vernon Tull: Bundren’s neighbor Outer Narrators Whitfield: the local preacherVernon Tull: Bundren’s neighborCora Tull: Vernon’s wife, nosy and piousLucius Peabody: the local doctorSamson: another neighbor who puts the Bundrens up for a night on their journeyHenry Armstid: another neighbor who hosts the Bundrens one unfortunate nightMoseley: druggist in Mottson, a town the Bundrens pass throughMacGowan: a drugstore clerk in Jeffersonexit
20 Faulkner’s Process59 interior monologues where life and death are revealed through the charactersOur memory, the way we understand, is related to our physical perceptionMonologues are very sensual perceptions of the real worldThese intensify the character’s mental & emotional experiences for the reader
21 More Faulkner’s Process Interior monologuesStream of consciousnessFirst person narrator makes action immediateNo omniscient narrator so no center59 chapters apportioned among 15 characters7 are concerned8 are detached
22 cubismAfter 1909, Picasso and Braque began a more systematic study of structure which we know as "Analytical Cubism". In this period, they removed bright colors from their compositions, favoring monochromatic earth tones so that they could focus primarily on the structure. The paintings of this period look as if they have deconstructed objects and rearranged them on the canvas. One goal of this is to depict different viewpoints simultaneously. Traditionally, an object is always viewed from one specific viewpoint and at one specific (stopped) moment in time. Picasso and Braque felt that this was too limiting, and desired to represent an object as if they are viewing it from several angles or at different moments in time. Innovative as this was, the danger was that many of the works of this period are completely incomprehensible to the viewer, as they start to lose all sense of form. ~Eyeconart.com
36 Creative ComponentThe pencil drawing on the right was made in the author's adult drawing class. It is a practice observation drawing of two chickens in motion drawn with the instructions to keep drawing in the same space while the chickens are moving.
38 WORKS CITEDAdamowski, T.H. "'Meet Mrs. Bundren': As I Lay Dying -- Gentility, Tact, and Psychoanalysis." University of Toronto Quarterly 49 (1980):Alldredge, Betty. "Spatial Form in Faulkner's As I Lay Dying." Southern Literary Journal 11 (1978): 3-19.Bender, Eileen T. "Faulkner as Surrealist: The Persistence of Memory in Light in August." Southern Literary Journal 18 (1985): 3-12.Bleikasten, Andre. Faulkner's As I Lay Dying. Bloomington: Indiana UP, 1973.Blotner, Joseph. Faulkner: A Biography. New York: Random House, 1974.Branch, Watson G. "Darl Bundren's 'Cubistic' Vision." William Faulkner's As I Lay Dying: A Critical Casebook. Ed. Dianne L. Cox. New York: Garland, Breton, Andre. Manifestoes of Surrealism. Ann Arbor: U of Michigan P, 1969.Broughton, Panthea Reid. "Faulkner's Cubist Novels." "A Cosmos of My Own": Faulkner and Yoknapatawpha, Eds. Doreen Fowler and Ann J. Abadie. Jackson: UP of Mississippi, 1981.Clarke, Deborah. Robbing the Mother: Women in Faulkner. Jackson: UP of Mississippi, 1994.Faulkner, William. As I Lay Dying. New York: Random House, 1990.Mosquitoes. New York: Liveright, 1971.Mellard, James M. "Something New and Hard and Bright: Faulkner, Ideology, and the Construction of Modernism." Mississippi Quarterly 48 (1995):Morris, Wesley. "The Irrepressible Real: Jacques Lacan and Poststructuralism." American Criticism in the Poststructuralist Age. Ed. Ira Konigsberg. Ann Arbor: U of Michigan P, 1981.Nielsen, Paul S. "What Does Addie Bundren Mean, and How Does she Mean It?" Southern Literary Journal 25 (1992): 33-9.Saussure, Ferdinand de. Course in General Linguistics. New York: McGraw-Hill, 1959.Tytell, John. "Epiphany in Chaos: Fragmentation in Modernism." New York Literary Forum 8/9 (1981): 3-15.Vickery, Olga. The Novels of William Faulkner: A Critical Interpretation. Baton Rouge: U of Louisiana P, 1959.Woolf, Virginia. Walter Sickert: A Conversation. London: The Hogarth Press, 1934.