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Stupen does so immorally. Before the war, Stupen used slaves to amass wealth. Now these subjugating means of prosperity have been taken away from him -- but that does not mean he will not find another way, think his neighbors, marveling at the man as if he were a Hercules, possessed of strength beyond their own.
Note the passage's decision to put ht word "ar" in capitals. The war is not referred to as the Civil ar. It is simply the war, as in the Southern view; the Civil ar was the war to end all wars, the war that ended the traditional antebellum way of life. The Civil ar changed the South permanently and inextricably, but just as Stupen resisted common sense about keeping in one's place when creating his plantation-made wealth, the 'we' of the town assumes he will be able to resist common wisdom again, if not…
We talked of him, Thomas Stupen, of the end of the War (we could all see it now) and when he would return, of what he would do: how begin the Herculean task which we knew he would set himself, into which (oh yes, we knew this too) he would undoubtedly sweep us with the old ruthlessness whether we would or no;" (Faulkner, pg.127).
The most striking thing about this quote from William Faulkner's 1936 novel of the Civil War and Reconstruction, Absalom, Absalom, is the way in which the main protagonist Thomas Stupen's struggle of social climbing in the South both before and after the war is given the rhetorical dimensions of a strident military conflict. In Faulkner's book, Thomas Stupen begins as a poor Virginian man who sets about establishing his social and economic position the par of his aristocratic and genteel White neighbors. The "ruthlessness" by which Stupen attempts to become like his 'betters' is ironic, for the man approaches acquiring social graces with the single-minded determination of formulating and putting into action a game plan. Stupen sees himself like a "Hercules," a hero of old with brute strength, who must engage in a task of several set labors to be freed and realize a goal. Stupen does so immorally. Before the war, Stupen used slaves to amass wealth. Now these subjugating means of prosperity have been taken away from him -- but that does not mean he will not find another way, think his neighbors, marveling at the man as if he were a Hercules, possessed of strength beyond their own.
Note the passage's decision to put ht word "War" in capitals. The war is not referred to as the Civil War. It is simply the war, as in the Southern view; the Civil War was the war to end all wars, the war that ended the traditional antebellum way of life. The Civil War changed the South permanently and inextricably, but just as Stupen resisted common sense about keeping in one's place when creating his plantation-made wealth, the 'we' of the town assumes he will be able to resist common wisdom again, if not in the same way, then in similar fashion. The quote pits the town's 'we' against Stupen, suggesting as if Stupen were an extraordinary curiosity to be observed, and the town was made up of weaker, more common, but slightly in-awe people.
Absalom, Absalom! And All the King's Men represent a less traditional, more subversive version of history, and how they are also clearly male representations of history
From Duchamp's analogies between humans and machines, to the traumatized bodies of dadaism and surrealism, to the gendered politics of horizontal sculptures, the body figures have had a prominent position in the art of the teens and postwar decades. The purpose of the present paper is to discuss the context, cultural meanings and aesthetics of the modernist body, now gendered male, female or androgynous. In order to do that, we will concentrate our attention on two statues made by Giacometti and Epstein respectively, called "Woman with her throat cut" and "Woman possessed."
The choice is motivated for the important changes in aesthetics and the philosophical thought they reflect. The choice of a female gender is not a casual one and in the following paragraphs…
" (Wilson, 77). Thomas utpen is a white man who is born into poverty. Despite his greatest endeavors, he can never be accepted by the self-regarding aristocracy of the outherner upper-class. Eulalia was, unbeknownst to utpen, of mixed race. Charles was, therefore, though by now greatly diluted, of mixed race too. The whole results in anarchy with one killing the other, and this 'messiness', it may be suggested, can be indicated in the pattern of the narrative that is filled with omissions and gaps, and where the listeners (such as Compson and later Quentin and hreve) have to prompt utpen to "Go on."
In 'All the King's Men' it is the woman's gaze that is, according to Wilson (2000), the subversive image. Phebe, the slave, threatens the order that keeps her powerless by staring at her mistress with eyes "bright and hard like gold" when she realized that her mistress…
Wilson, D. "A Shape to Fill a Lack": Absalom, Absalom! And the Pattern of History.
Wilson, D. Medussa, the Movies, and the King's Men. The Legacy of Robert Penn Warren. Ed. David Madden, Lousisiana: Baton Rouge, 2000. 71-83.
Absalom, Absalom! By William Faulkner. Specifically it will analyze what makes the novel Southern Gothic. "Absalom, Absalom!" is the story of Thomas Sutpen, a larger than life hero who wants to create his own southern dynasty in the years before, during, and after the Civil War. It is considered one of Faulkner's greatest novels, and an important example of Southern Gothic fiction, as well.
William Faulkner is most known as a southern writer who chronicled life in mythical Yoknapatawpha County Mississippi, a place he wrote about often in his fiction. "Absalom, Absalom!" is one of the best examples of his work, and it represents the best in Southern Gothic fiction, as many critics contend. Southern Gothic is a form of American Gothic writing that morphed from true Gothic writing which began in the 18th century in Europe with such writers as Mary Wollstonecraft Shelley and many others. Edgar Allen Poe…
Editors. "Southern Gothic: Distinguishing Features." Oprah.com. 2008. 14 Oct. 2008. http://www.oprah.com/article/oprahsbookclub/heartisalonelyhunter/thlh_gothic_features
Faulkner, William. Absalom, Absalom!. New York: Vintage International, 1990.
Yamaguchi, Ryuichi. Faulkner's Artistic Vision: The Bizarre and the Terrible. Madison, NJ: Fairleigh Dickinson University Press, 2004.
Rosa Coldfield in Faulkner's Absalom, Absalom!
Rosa Coldfield stands as the most prominent link between past and present in William Faulkner's Absalom, Absalom! Indeed, it is Miss Coldfield who is responsible for the inception of Quentin's investigation into the past. She requests that he come to her so that she can tell him some of his family's history before he sets off for college in the North. It is through her voice that both Quentin and the reader first encounter the near-mythic figure of colonel Sutpen. ut the careful reader realizes early on that Rosa cannot be trusted as a truly reliable source. Her grim aspect and dark clothes, "the eternal black which she had worn for forty-three years now, whether for sister, father, or nothusband none knew" suggest that all is not right with Miss Coldfield (3). Indeed, as we learn more and more about Miss Coldfield, we begin…
Faulkner, William. Absalom, Absalom! New York: Vintage International, 1990.
While some might argue that it is fate which goes against him, it becomes more logical to assume that he was completely blinded by his desire to become rich and leave a legacy of that type to a heir son. Faulkner uses his character in order to recreate the mentality which existed in the south right before the Civil war. Thomas gets a heir from his first wife, but the fact that she is half black makes him reject her and abandon both her and the baby. Sutpen is a symbol of the south, in which the color of man's skin was determinant of his value. Therefore, being half black, his son is unworthy of his attention and his fortune.
Henry, his other son almost convinces himself that his half brother Charles on is appropriate to marry their sister Judith until he finds out that he is half black- which…
"Absalom, Absalom! Review" in Book Club Classics, Retrieved from http://bookclubclassics.com/Blog/sunday-salon-absalom-absalom / October 3, 2010
Faulkner, W., Hobson, F. (editor). William Faulkner's Absalom, Absalom!: A casebook (Casebooks in criticism). Oxford University Press, 2003
O'Donnell, G.M. "Mr. Faulkner flirts with failure," Retrieved October 3, 2010 from http://xroads.virginia.edu/~1930s/print/ababgwtw/Faulkrev2.html
Porter, C. "(un)making the father." The Cambridge companion to William Faulkner, Absalom, Absalom!, Retrieved from http://cco.cambridge.org/extract?id=ccol0521420636_CCOL0521420636A012 October 3, 2010
Strike has ethics, as shown in his behavior towards his 'boss' Roscoe, and his mentoring of the younger, more vulnerable young men. In a different social situation, Strike would likely have put his moral impulses to different and better use. Strike obeys the moral logic of his urban society with the same kind of adherence that an upstanding citizen might, who had been afforded ways to make a decent living in a law-abiding way. But Strike grew up in a neighborhood where the most noble and respectable persons were all drug dealers, and the person one could aspire to be like, at the highest level, was a criminal. Thus, although he does not wish to kill, and seeks an escape from the limits of his existence, because he has no role models around him (and unconsciously provides a bad example to younger members of his neighborhood) Strike becomes a dealer,…
Ellison, Ralph. (1995) Invisible Man. New York: Vintage.
Faulkner, William. (1991) Absalom, Absalom. New York: Vintage Reissue.
Price, Richard. (2001) Clockers. New York: Harper Paperbacks.
John Dryden was one of the most important literary figures in the 17th century because he excelled in fiction, nonfiction, and poetry. Dryden was a master of many literary techniques, most particularly the extended metaphor. His poem "Absalom and Achitophel" is a political satire which deals with the then-current political situation in England in a most sly and intelligent way. The piece is an historical allegory wherein the author uses historical events to explore the deeper meaning behind more recent events that have shaped is own society. The rebellion of Absalom against King David is used to parallel the various plots to take over the throne of England through the Exclusion Crisis, the Popish Plot, and the Monmouth Rebellion. Dryden uses the relative safety of the allegory to make a scathing remark about the politics of his country and to subtly recommend ways in which the country could be strengthened…
Dryden, J. (1889). "Absalom and Achitophel." Macmillan: Oxford, UK. 83-115.
narration in four novels, "The Grapes of Wrath" by John Steinbeck, "Old Man and the Sea" by Ernest Hemingway, "All the King's Men" by obert Penn Warren, and "Absalom, Absalom!" By William Faulkner. Specifically, it compares are contrast the four different methods of narration in each of these novels.
Each of these classic novels uses a different form of narration to set the stage for the characters and move the plot along. Each form of narration adds to the impact of the novel, and altering the narration would certainly alter the way the novels affect the reader. These novels are excellent examples of the differing forms of narration, and how important they are to the overall art of fiction.
Absalom, Absalom!" uses a stream of consciousness type of narration that includes the shifts in points-of-view and setting that can be unsettling to the reader. This is the author's intention, for…
Faulkner, William. "Absalom, Absalom!" William Faulkner, Novels 1936-1940. New York: Library of America, 1990.
Hemingway, Ernest. Old Man and the Sea. New York: Scribner, 1996.
Steinbeck, John. The Grapes of Wrath. New York: Penguin, 1992.
Warren, Robert Penn. All the King's Men. New York: Harvest Books, 1996.
During this expose into Stupen's relationship with Miss Coldfield's past, is where the heavy introduction of the "stream of consciousness" tactic comes forth.
This model permeates the entire Faulkner work, however it is extremely prevalent within the first several chapters. Indeed, Faulkner sets up the integration of this model by the use of Quentin's "consciousness" throughout the description of Miss Coldfield's past. Quentin, incorporates Miss Coldfield's "historic narrative" with his own perceived notions of Southern culture and relates, the presentation of Thomas Stupen's interaction with individuals as an explanation for the entire culture of the South and more importantly, Quentin's "conscious" thoughts express a linkage that the South lost the war because of men like Stupen, men who had shrewd and calculating natures but lacked compassion and therefore drew the ire and wrath of God, therein preventing the South from attaining victory (Burton, 2006).
As the novel progresses through the…
Anshen, David. "Faulkner's Common Folk." The Mississippi Quarterly 61 (2008): 1103-1109. Print.
Blottner, Joseph. "Opus Two." National Review 14 June 1999: 97. Print.
Burton, Stacy. "Temporality and Narrative." Comparative Literature 48 (2006): 1356-1367. Print.
Cagle, Jeremey. "More Than a Snapshot: Allen Tate's Ironic Historical Consciousness in the Fathers." The Mississippi Quarterly 59 (2005): 77-85. Print.
Reason in the faith and satire of Dryden and Swift
The neoclassical age in which both John Dryden and Jonathan Swift penned their most noteworthy prose is often also called 'The Age of Reason.' However, although this valorization of reason and rationality may be a fair characterization of much of the Age of human Enlightenment, Dryden and Swift do not deploy nor valorize reason in the same fashion. For Dryden, reason is the key to humanity's connection with the divine and political freedom. In Swift's social and religious satires, however, human confidence in its rationality is just as absurd as overconfidence in human religious political and social institutions to create just and fair societies.
Dryden's religious poem "Religio Laici" begins with a definition of reason as the most perfect mode of the ultimate human understanding of the divine. Dryden writes, "as the borrow'd beams of moon and stars./To lonely, weary,…
Dryden, John. Absalom and Achitophel" Accessed on April 25, 2004 at http://eir.library.utoronto.ca/rpo/display/poem736.html
Dryden, John. "Religio Laci." Accessed on April 25, 2004 at Plagarist.com
Swift, Jonathan. "The Battle of the Books." From A Tale of a Tub. Originally published 1704.
Swift, Jonathan. A Tale of a Tub. Originally published 1704.
In addition, heavy taxation and hard work in the military led to bitterness among the people, as did the special privileges he granted to Judah in favor of the northern tribes. For this, the kingship was taken away from olomon's descendants and given to Jeroboam son of Nebat. God's words to olomon regarding this issue appear in 1 Kings 11: 13:... "I will not tear away the whole kingdom, but I will give one tribe to your son for the sake of my servant David, and for the sake of Jerusalem which I have chosen." For the same reason, olomon was spared this event during his lifetime. olomon died after 40 years as ruler of Israel and was buried in the City of David, like his father. As prophesied, olomon's empire was lost and divided after his death. Both kings reigned with wisdom, but also with a fair amount of…
Holy Bible. The New King James Version. New York: Thomas Nelson Publishers, 1983
Schoenberg, Shira. "David." Jewish Virtual Library, 2007. http://www.jewishvirtuallibrary.org/jsource/biography/David.html
Schoenberg, Shira. "Solomon." Jewish Virtual Library, 2007. http://www.jewishvirtuallibrary.org/jsource/biography/Solomon.html
" Further, as previously stated, in the Jewish tradition, it is believed that the Messiah (whom Christians believe is Jesus), must be a descendent of David's line.
The New Testament in fact introduces Jesus as the son of David and of Abraham (Mt. 1:1). Further, in the Gospel of Luke, he describes how Mary, the mother of Jesus, was descended from King David through one of his sons, Nathan. This leads contemporary Christians to believe that Jesus is the prophesied messiah, as well as the rightful king of Israel.
It is interesting that Jesus, despite the fact of David's obviously sinful nature, follows him in matters of conduct. Indeed, the reader notes that Christ used the actions of the pre-descent David as justification for his own (Luke 6:1-5) concerning the eating of wheat from the fields on the Sabbath. (McCall, 1999). However, even more interesting than David's use as a…
Aish. Aish.com. Staff. "Jewish History." Web site. 1995. Retrieved on July 8, 2005 http://www.aish.com/literacy/jewishhistory/Crash_Course_in_Jewish_History_Part_19_-_King_Solomon.asp
Alter, R. "The David Story." Chicago, Norton. 1999.
Bible History.com. Staff. "Biblical Archaeology: Tel Dan Stele." Web site. 2005. Retrieved on July 8, 2005 http://www.bible-history.com/archaeology/israel/tel-dan-stele.html
Biran, Aaron and Joseph Naveh, "An Aramaic Stele Fragment from Tel Dan," in Israel Exploration Journal 43 (1993), pg. 81-98
King David is a significant character in the Bible because he foreshadows the coming of Christ, Who was foretold to be a descendant of the House of David. David’s faith also foreshadows the faith that Christ sought among His people (yet in most cases failed to find). While the Bible is the only historical source of information for King David, other than the Tel Dan Stele in the archeological field, an analysis of the person of David is revealing as it sheds much light on the character of God and the merciful nature of the Divine Being Who represents the central heart of the Bible. In the story of King David, it is God’s mercy after all that shines most brightly. David was an individual who had many flaws and imperfections: he could very easily be considered a “bad guy” for his numerous transgressions—such as his adultery with Bathsheba…
The medieval period in English history spans across some 800 years. The Anglo-Saxon period consisted of literature that was retained in memory. The major influence of the literature up until the Norman Conquest was mainly of the religious kind. "Distinguished, highly literate churchmen (Abrams 4) the Ecclesiastical History of England remains our "most important source of knowledge about the Anglo-Saxon period" (4).
The Anglo-Saxons were primarily known for their contribution to poetry. Their alliterative form was, of course, how poetry survived. Sine they wrote nothing down until they were "Christianized," Abrams suggest that that Christian ideals influenced how things were recorded and it would also explain why some non-Christian literature did not survive. Beowulf is what Abrams refers to as the "greatest" German epic, even though it appears to many pre-Christian ideas. (4) Another example of the Anglo-Saxon writing movement would be Chaucer's Canterbury Tales. Chaucer brilliantly weaves…
Abrams, M.H., ed. The Norton Anthology of English Literature. New York W.W. Norton and Company. 1986.
Encyclopedia Britannica. Chicago: William Benton Publisher. 1959.
Wright, Meg. Early English Writers. New York: Marshall Cavendish Corporation. 1989.
King David as Described in 2 Samuel 11
Samuel 11 describes the events surrounding the sin of King David with regard to Uriah, whom he essentially had executed so that David's adultery with Uriah's wife would not be made known to him. This shameful action on the part of David displeased the Lord immensely, which is described in the following chapters. This chapter, however, reveals a side of David's character that prior to this incident had not been explored before. Much of what is known about David's character is celebratory -- from his time as the boy who slays the giant Goliath, to his handling of the Ark of the Covenant. David is described as a man after God's own heart (1 Sam 13:14) and most of his actions support this idea. His "humility and innocence" in his approach to Saul, playing for him on his lyre and soothing the…
Bartlett, David; Taylor, Barbara. Feasting on the Word. Louisville, KY: Westminster
John Knox Press, 2009.
Bosworth, David. "Evaluating King David: Old Problems and Recent Scholarship," The
Catholic Biblical Quarterly, vol. 68, no. 2 (April 2006), 191-203.
Donald then concluded that when a child is found suffering from genital irritation, it was best to have circumcision performed on him "during the first year of life, so that to a degree at least danger of future moral contamination may be avoided."
he obvious and well-documented benefits of circumcision led to a sudden increase in its popularity and by 1889, it was getting circumcised was in fashion. Circumcision gained even greater support when it was presented not as a cure but also as a prophylactic. Since the benefits were well-known and circumcision was widely advocated, people decided that it was better to get their children circumcised as soon as it was possible. hus, instead of waiting for diseases to develop or other signs of discomfort to emerge, it was thought best to have circumcision done before it was too late and thus neonatal circumcision became popular. By 1910 and…
Task Force on Circumcision (1999)
John Firman & Ann Gila, The Primal Wound: A Transpersonal View of Trauma, Addiction, and Growth (1997
Thomas Metcalf, et al., Circumcision: A Study of Current Practices, 22 Clinical Pediatrics 575, 576 (1983)
Universally accepted as one of the world's foremost epics, John Milton's Paradise Lost traces the history of the world from a Christian perspective. (Milton, 1667) The narrative of the poem largely deals with falling and how desires -- God, Satan, Jesus, Adam and Eve's -- lead to it. The book is about mankind's fall -- Original Sin -- Adam and Eve's disobedience of God. There are other instances of falling in the plot too. First, Satan's fall from God's graces, as related to Adam and Eve by the angel Raphael, represents the past in the Universe's creation. The second instance -- the present (in the narrative) -- is the Adam and Eve's eating of the Forbidden Fruit. The third instance represents the future. Michael, as he readies to escort Adam and Eve out of Paradise, presents to them the various falls of man until Jesus comes to rescue by dying…
Bendz, Fredrik. Proof That There Is No God. 1998. Fredrik Bendz. Available. December 27, 2002. http://www.update.uu.se/~fbendz/nogod/no_god.htm
Milton, John. Paradise Lost. The Poetical Works of John Milton. Vol. I and II. Boston R.H. Hinkley Company, 1667.
Wigglesworth, Michael. Day of Doom. The Poems of Michael Wigglesworth. Ed. Roland Basco. New York: University Press of America, 1662.