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Faulkner and the Native South最新文献

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Doom and Deliverance: Faulkner’s Dialectical Indians 厄运与解脱:福克纳的辩证印第安人
Pub Date : 2019-02-05 DOI: 10.14325/MISSISSIPPI/9781496818096.003.0003
M. Taylor
Most critics and historians agree that Faulkner’s Indian characters are outrageous mystifications drawn from popular misperceptions and unspoken ideologies. While he famously admitted that he “made up” his Indians, numerous scholars have wondered whether such a shrewd student of Mississippi history could have ignored the facts entirely. This chapter suggests that the reality lies somewhere in between—purposefully and revealingly so. Faulkner’s Indians occupy the dialectical space between the wreckage of the South’s colonial histories and the rapacities of the capitalist future; they are despicably “other” even as they are uncannily, frighteningly kindred. Departing from the standard focus on Faulkner’s so-called “Indian stories,” this chapter instead uncovers the obscure, uncanny Indians that lurk unseen in his major texts and within his most prominent families and novels. Collectively, these Indians comprise a surprisingly active and pertinent contingent in Faulkner’s modern South: specimens of America’s most luminous possibilities and haunting failures.
大多数评论家和历史学家都认为,福克纳笔下的印第安人角色是受大众误解和未言明的意识形态影响而产生的令人愤怒的神秘化。虽然他承认他“编造”了他的印第安人,但许多学者都想知道,这样一个研究密西西比历史的精明学生是否会完全忽视这些事实。这一章表明,现实是介于两者之间的——有目的的和明显的。福克纳笔下的印第安人占据了南方殖民历史的残骸和资本主义未来的能力之间的辩证空间;他们是可鄙的“异类”,尽管他们是不可思议的、可怕的亲戚。与福克纳所谓的“印第安故事”的标准焦点不同,这一章揭示了隐藏在他的主要文本中、在他最著名的家庭和小说中不为人知的、神秘的印第安人。总的来说,这些印第安人在福克纳的现代南方组成了一支令人惊讶的活跃和相关的队伍:美国最光明的可能性和令人难忘的失败的标本。
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引用次数: 0
“Land! Hold On! Just Hold On!”: “土地!坚持住!坚持住!”:
Pub Date : 2019-02-05 DOI: 10.14325/mississippi/9781496818096.003.0004
Gina Caison
This essay interrogates William Faulkner’s “Old Man” section of The Wild Palms (1939), with its depiction of the 1927 flood, alongside Houma filmmaker Monique Verdin’s documentary My Louisiana Love (2012), which recounts Hurricane Katrina and the BP oil spill, to examine the ways that the two texts present ecological disaster in the Native South. In many cases, Faulkner takes liberties and makes mistakes in his use of Native history, but to catalogue his successes or failures means to remain fixed upon Faulkner’s tapestry alone, imagining that the “Native” runs through his fictional Yoknapatawpha like a single thread. Rather, this essay examines the ways in which Faulkner’s work forms part of a larger fabric of a region still deeply imbued with the concerns of indigenous land claim and how contemporary Indigenous artists represent this landscape.
本文考察了威廉·福克纳在《野棕榈》(1939)中描写1927年洪水的“老人”部分,以及荷马电影制作人莫尼克·维尔丹的纪录片《我的路易斯安那之爱》(2012),该片讲述了卡特里娜飓风和英国石油公司的石油泄漏事件,以考察这两篇文章呈现南方原住民生态灾难的方式。在许多情况下,福克纳在使用土著历史时采取了自由和错误的做法,但要对他的成功或失败进行分类,意味着只关注福克纳的挂毯,想象“土著”像一条线一样贯穿他虚构的约克纳帕塔法。相反,这篇文章考察了福克纳的作品是如何形成一个更大的地区结构的一部分,这个地区仍然深深浸透着对土著土地要求的关注,以及当代土著艺术家是如何表现这一景观的。
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引用次数: 0
Faulkner Didn’t Invent Yoknapatawpha, Everybody Knows That 福克纳没有发明约克纳帕塔法,这是人所共知的
Pub Date : 2019-02-05 DOI: 10.14325/MISSISSIPPI/9781496818096.003.0001
Leanne Howe
This chapter introduces the reader to some of the Indigenous ways of knowing that inform the methodology of Native South studies. It illustrates how Choctaws and other Southeastern nations have turned to “core narratives as a survival strategy over millennia” of challenges posed both by the natural environment and by the “tired, hungry foreigners” who have sought refuge in Native homelands. Turning to the subject of weather prediction, Howe cites a range of writings—from Bienville’s correspondence of the early 1700s to Choctaw chief Ben Dwight’s inquiries among leaders of other tribal nations in the 1950s—as evidence not only that the tribes possessed a diversity of Indigenous knowledge “about long-term weather processes” but that they shared this knowledge intertribally, helping each other weather the threat of ecodisaster. The chapter faults Faulkner for Native characterizations that trade on stereotype, but also also, finds his imagination to be “driven” and “enlivened” by Native stories. His own ways of knowing were in some respects compatible with the story-centered epistemologies that are explored.
本章向读者介绍了一些土著的认知方式,这些方式为南方土著研究的方法论提供了信息。它说明了乔克托族和其他东南部国家如何将“核心叙事作为几千年来的生存策略”,以应对自然环境和在土著家园寻求庇护的“疲惫、饥饿的外国人”所带来的挑战。谈到天气预报这个话题,豪引用了一系列的文献——从18世纪初比恩维尔的信件到20世纪50年代乔克托族酋长本·德怀特对其他部落国家领导人的调查——作为证据,证明部落不仅拥有“长期天气过程”的多样性土著知识,而且他们在部落间分享这些知识,帮助彼此度过生态灾难的威胁。这一章指出福克纳对土著人物的刻画过于刻板,但也发现他的想象力受到土著故事的“驱动”和“活跃”。他自己的认知方式在某些方面与以故事为中心的认识论是一致的。
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引用次数: 1
The Wild and the Tame 《野性与驯服
Pub Date : 2019-02-05 DOI: 10.14325/MISSISSIPPI/9781496818096.003.0008
R. Ethridge
William Faulkner’s portraits of American Indians, rooted in popular stereotypes and misconceptions about Native people, range from the degraded, “white man’s” Indian to the Noble Savage. One stereotype that Faulkner draws on is the EuroAmerican idea that American Indians have an essential connection to the natural world, a stereotype that is certainly as old as Rousseau’s ruminations on the Noble Savage. This concept, dubbed the “ecological Indian” by anthropologist Shepard Krech, has been the focus of much debate and discussion. This paper explores the character of Sam Fathers in William Faulkner’s Go Down, Moses as “ecological Indian” and the continued use of Faulkner’s rendering in contemporary Native literature and social justice issues.
威廉·福克纳(William Faulkner)对美洲印第安人的刻画根植于对土著人的普遍刻板印象和误解,从堕落的“白人”印第安人到高贵的野蛮人。福克纳借鉴的一个刻板印象是欧美人的观念,即美洲印第安人与自然世界有着本质的联系,这个刻板印象当然和卢梭对《高贵的野蛮人》的思考一样古老。这个概念被人类学家谢泼德·克雷奇称为“生态印第安人”,一直是许多辩论和讨论的焦点。本文探讨了福克纳小说《去吧,摩西》中山姆·法兹作为“生态印第安人”的性格特点,以及福克纳在当代印第安文学和社会正义问题上的继续运用。
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引用次数: 0
Native Southern Transformations, or, Light in August and Werewolves 《南方蜕变》或《八月之光》和《狼人
Pub Date : 2019-02-05 DOI: 10.14325/mississippi/9781496818096.003.0009
E. Anderson
In the world of Light in August, a cotton warehouse tank can look like the torso of a beheaded mastodon and an elderly couple "might have been two muskoxen strayed from the north pole, or two homeless and belated beasts from beyond the glacial period." Here and elsewhere in the novel, Faulkner's reach transforms characters and environs. While none of the major characters is native to Jefferson, let alone Indigenous, some are astonishingly non-native and most if not all become more non-native and more homeless as the novel unfolds. With these and other unsettlements in mind, the chapter places Light in August alongside Mongrels, a native southern werewolf novel by Blackfeet writer Stephen Graham Jones. Tracking the monsters and the mongrel transformations in both novels, the chapter presents and argument for the transformative methodological value of native southern studies.
在8月的光明世界里,棉花仓库的坦克看起来就像一头被斩首的乳齿象的躯干,一对老夫妇“可能是两只从北极迷路的麝牛,或者是两只来自冰川期以外的无家可归的、迟到的野兽。”在这里和小说的其他地方,福克纳的影响改变了人物和环境。虽然没有一个主要人物是杰斐逊的本地人,更不用说土著居民了,但有些人却惊人地不是本地人,而且随着小说的展开,大多数人(如果不是全部的话)变得更不是本地人,更无家可归。考虑到这些以及其他不安定因素,这一章将《八月之光》与黑脚作家斯蒂芬·格雷厄姆·琼斯创作的南方本土狼人小说《杂种》放在一起。本章追踪了这两部小说中的怪物和混血儿的转变,提出并论证了本土南方研究的变革方法论价值。
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引用次数: 0
“A Valid Signature” “有效签名”
Pub Date : 2019-02-05 DOI: 10.14325/MISSISSIPPI/9781496818096.003.0006
A. Trefzer
This chapter focuses on the “X-mark” by which Chickasaw matriarch Mohataha signs over the legal title of her land in Mississippi to the white settlers of Faulkner’s Jefferson. This essay investigates the political agency of her signature, specifically the potential for native sovereignty in a situation of forced Removal. Mohataha’s mark signifies both the downward vector of a displaced culture and an upward stroke towards new horizons in Chickasaw history. Literally a legal sign, the “x” functions symbolically as a gendered figure linking Mohataha to the other female characters in the novel whose chiasmic plot structure centers on a coercive legal culture and women’s potential for resistance and rebellion.
这一章的重点是“x标记”,契卡索女族长莫哈塔哈通过这个标记将她在密西西比州的土地的合法所有权移交给福克纳笔下杰弗逊的白人定居者。本文探讨了她的签名的政治代理,特别是在被迫搬迁的情况下,土著主权的潜力。莫哈塔哈的标志既象征着流离失所的文化的向下的方向,也象征着奇卡索历史上向上的新地平线。从字面上看,“x”是一个法律符号,它象征着一个性别数字,将莫哈塔哈与小说中其他女性角色联系起来,小说的交错情节结构以强制性的法律文化和女性反抗和反叛的潜力为中心。
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引用次数: 0
Dressing the Part: 穿着得体:
Pub Date : 2019-02-05 DOI: 10.14325/MISSISSIPPI/9781496818096.003.0005
P. Galloway
Charles Betts Galloway’s first charge as Methodist bishop in 1886 was Indian Territory. The bishop’s grandfather had held slaves and taken up Indian land; his father had served in the Civil War; he overlapped with Faulkner’s first twelve years; and his daughter’s son shared a desk with Faulkner in elementary school. Galloway’s hope for Indian people was that they would be converted to Christianity. He saw the Indian people he met as dignified and thoughtful in his accounts of visits and meetings with them. In addition to his observations, we have the testimony of Charles Dickens, who met Choctaw Peter Pitchlynn, and a businessman who witnessed the Chickasaw crossing the Mississippi going westward. Indian dress in Faulkner’s works has been seen as symbolic; The chapter explores this theme through the observation of men contemporaneous with the middle times of the fictional Yoknapatawpha.
查尔斯·贝茨·加洛韦1886年作为卫理公会主教的第一个职责是印第安领地。主教的祖父曾拥有奴隶,占有印第安人的土地;他的父亲曾参加过南北战争;他与福克纳的前12年重合;和他女儿的儿子在小学时和福克纳共用一张桌子。加洛韦对印第安人的希望是他们能皈依基督教。在他的访问和会面记录中,他认为他遇到的印度人都是有尊严和深思熟虑的。除了他的观察,我们还有查尔斯·狄更斯的证词,他遇到了乔克托人彼得·皮特林恩,还有一个商人目睹了奇卡索人穿越密西西比河向西走。福克纳作品中的印第安服饰具有象征意义;本章通过观察与虚构的约克纳帕塔法中期同时代的人来探讨这一主题。
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引用次数: 0
Souths as Prologues: Indigeneity, Race, and the Temporalities of Land; or, Why I Can’t Read William Faulkner 南方作为序曲:土著、种族和土地的暂时性或者《为什么我读不懂威廉·福克纳》
Pub Date : 2019-02-05 DOI: 10.14325/mississippi/9781496818096.003.0002
Jodi A. Byrd
Reading Faulkner as a Chickasaw scholar can, at times, be disorienting in the juxtapositions of history, remembrance, family, and fiction; the experience itself relocates and displaces as much as it coheres a sense of the past or of a place. Mired in the scenes of settlement, Faulkner’s world-building helped set into motion contradictory and cacophonous discourses of blackness, whiteness, and indigeneity in the American South, and in doing so, provided the imaginative terrains through which we continue think about the intersections of slavery and colonialism. Taking up Absalom, Absalom! alongside critical work in indigenous studies, black feminism, and queer of color critique, this chapter will consider how indigeneity interrupts the temporalities and spatialities that are often taken for granted in how we understand the South as prologue for race in America.
作为一名契卡索学者来阅读福克纳的作品,有时会在历史、记忆、家庭和小说的并列中迷失方向;体验本身重新定位和取代,就像它凝聚了过去或一个地方的感觉一样。福克纳的世界建构沉浸在殖民地的场景中,推动了美国南方黑人、白人和土著的矛盾和不和谐的话语,并在这样做的过程中,为我们继续思考奴隶制和殖民主义的交叉点提供了想象的领域。押沙龙阿,押沙龙阿。除了在土著研究、黑人女权主义和酷儿有色人种批评方面的批判性工作外,本章将考虑土著如何打断我们如何理解南方作为美国种族序幕时经常被视为理所当然的时间性和空间性。
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引用次数: 8
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Faulkner and the Native South
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