Ulteriori informazioni
This book treats William Faulkner's major fiction--from Flags in the Dust through to Absalom, Absalom --to a searching reappraisal under the spotlight of a media-historical inquiry. It proposes that Faulkner's inveterate attraction to the paradigms of romance was disciplined and masked by the recurrent use of metaphorical figures borrowed from the new media ecology. Faulkner dressed up his romance materials in the technological garb of radio, gramophony, photography, and cinema, along with the transportational networks of road and air that were being installed in the 1920s. His modernism emerges from a fraght but productive interplay between his anachronistic predilection for chivalric chich�s and his extraordinarily knowledgeable interest in the most up-to-date media institutions and forms. Rather than see Faulkner as a divided author, who worked for money in the magazines and studios while producing his serious fiction in despite of their symbolic economies, this study demonstrates how profoundly his mature art was shot through with the figures and dynamics of the materials he publicly repudiated. The result is a richer and more nuanced understanding of the dialectics of his art.
Sommario
- Table of Contents:
- Introduction: Modernism and the Absent Event of Romance
- 1. A Folklore of Speed
- 2. Affect and Spatial Dynamics in Flags in the Dust and The Sound and the Fury
- 3. Currents of Consciousness; or, my mother is a graphophone
- 4. The Negative Plate, or Absalom, Absalom! and the camera's voice
Info autore
Julian Murphet is the Director of the Centre for Modernism Studies at the University of New South Wales, Australia. He is the author of four books, most recently Multimedia Modernism: Literature and the Anglo-American Avant-Garde (CUP 2009).
Riassunto
A major new reading of Faulkner's work that scans the major novels for signs of the new media ecology of the 1920s and 30s.
Testo aggiuntivo
Faulkner's Media Romance is an extraordinary book. With breathtaking originality, Julian Murphet transforms our conceptualizations of Faulkner's motivating thematic concerns, anxieties about genre, and stylistic ambitions. He reimagines the terms of Faulkner's confrontation with modernity and modernism by locating Faulkner's writing within its modern media environment. This book brilliantly demonstrates how Faulkner's engagement with the new forms of mechanical (and later electric) reproduction of voice and visual field constituted both a massive claim on Faulkner's project as a writer, by posing a threat to the very status and purpose of literature, but also provided an unlooked for opportunity to crack open the social mentalities and generic traditions that constrained him. This is criticism of superior intelligence, and its enormous richness will occupy Faulkner scholarship and modernist studies for a good while.
