(THESIS) - WILLIAM FAULKNER: TIME AND MITHOLOGY Manoel Ferreira Neto: THESIS

II PART

The first that strikes one in reading the "Sound and Fury" is its technical oddity. Why has Faulkner broken up the time of his story and scrambled the pieces? To understand such a question is needed not only to comprehend and understand the meaning of the Phrasal Verb "TO BREAK UP" but to analyse it accordingly to what Faulkner thinks of time. Having understood the meaning of the Phrasal Verb, the possibility of deepen into Faulkner´s profoundness becomes a journey into human being and its condition. Why is the first window that opens out on this fictional world the consciousness of an idiot? The reader, who has been interested in deepening, is tempted to look for guidemarks and to re-establish the chronological for himself. Moreover, the reader is tempted to deepen into himself and try to re-establish his existence, to re-establishing his being which his values are.As we have seen, an analyses of a style must be confronted to analogues Faulkner´s worries of a perfect empathy with his reader is responsible for confronting our world with his.

"Jason and Caroline Compson have had three sons and a daughter. The daughter, Caddy, has given herself to Dalton Ames and become pregnant by him. Forced to get hold of a husband quickly."

The knowledgement itself in so many ways. The knowledgement can be active since exists the hearing, seeing, likening, remembering, worrying, having hopless, and so on. Concerning to the ways of feeling, understanding is a feeling. Concerning to intellect, understandig is perception. Once in a whilst it is totally present withing us, and we discover we are unable to express beyond words, thoughts or concepts. So that whilst reading and feeling the characters we perceive a great tension between the unableness to express beyon words, thoughts or concepts and the very needed of expressing.

Here the reader stops, for he realizes he is telling another story. Faulkner has no intention of presenting his reader. With a theory of fatality. Rather he wants to communicate to us those very impressions that strangle his characters, and to do this, the reader must not be entered to privileged knowledge, he must not understand the characters any more than theu understand themselves - it is the error and mistake of many novelists to imagine that an impulsion is strengthened when it is justified. This Faulkner, and, as a result, his reader stays with him, with the hero. Faulkner did not first conceive his orderly plot so as to shuffle it afterward like a pack of cards, so as to move toward images impulsions like an extremely joke; he could not tell it in any other way. In the classical novel, action involves a central complication - for example, the murder of old Karamazov - for whom had never heard, rea, we are conversing on Dostoiévski, a Russian writer, his work "The Brothers Karamazov - or meetin of Edouard and Bernard in the Coiners.

Even in "A Rose for Emily" Faulkner has no intention of presenting his reader with a theory of fatality. He wants to express Miss Emily had been a tradition, a duty, and a care: a sort of hereditary obligation upon the town, dating from that day in 1894 when Colonel Sartoris, the mayor - he who fathered the edict that no Negro woman should appear on the sheets without an apron-remitted her taxes, the dispensation dating from the death of her father on into perpetuity.

"When Miss Emily Grierson died, our whole town went to her funeral; the men through a sor of respectful affection for a fallen monument, the women mostly out of curiosity to the insider of her homem, which no one save an old man-servant - a combined gardener and cook - had seen in at least ten years."

#RIODEJANEIRO#, 01 DE JANEIRO DE 2019#