By Arthur F. Kinney
The impressive French philosopher Simone Weil is likely one of the top highbrow and religious figures of the 20th century. A mythical essayist, political thinker and member of the French resistance, her literary output belied her tragically brief existence. so much of her paintings was once released posthumously, to frequent acclaim. continuously interested by the character of person freedom, Weil explores in Oppression and Liberty its political and social implications. reading the reasons of oppression, its mechanisms and types, she questions progressive responses and offers a prophetic view of a manner ahead. If, as she famous in different places, 'the destiny is made up of a similar stuff because the present', then there'll consistently be a necessity to proceed to hear Simone Weil.
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Extra info for Faulkner's narrative poetics: style as vision
Stranger and hobo are thoughts visually perceived which keep the man at some distance from Byron and so free Byron to react in a whole range of ways, from accepting him to rejecting (or even ignoring) the man. But the man's dressthe remnants of a suit and a professional appearancespeaks to Byron's weekend status in the church (which we shall learn about soon enough in his unfolding consciousness in Light in August) and so aligns Byron with the new man in a brotherhood which is distinct from the "regular" laborers at the sawmill who never assume a professional capacity.
Just as the Sèvres dish and the box with the pearl-rimmed portraits, the garden bench and the map of the world constitute for us the consciousness and meaning of Eugènie Grandet, just as the dance and the auction, the woods and the cathedral, Tostes and Yonville-l'Abbaye constitute Emma Bovary for us, so we know Faulkner's corporal only by knowing the runner, the old general, Levine, and Marthe. We constitute the consciousness of Ike McCaslin not only by knowing the woods and the delta as he knows them, but by gauging his perceptions of Sam and Boon, of Cass and Roth, and of Lucas, Tennie's Jim, and Fonsiba.
In so aligning one or more narrative consciousness with our own consciousness of the work as a single unified aggregate, Faulkner's novels are persistently phenomenological in origin and shape. As consequence, Faulkner's novels are never linear in development; they seem impressionistic. They pursue, stumble, repeat, circle, stop bewildered within the minds of characters who in turn judge, explore, denounce, imagine. There is here a deliberate attempt to capture the human processes of thought and growth which are never one-dimensional, but which oscillate, expand, contract, retrogress, mobilize, partially atrophy, proceed erratically.