Motionless as an Idol - Columbus State University

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Bullock 38layer being crafted by the women's societies in the texts and the second layer beingcrafted by the author as he chooses to present their plights in this detached manner. Thiscreates a complex sense of time, reality, and art in true Modernist fashion. It alsohearkens back to our discussion of ekphrasis, and Susan V. Donaldson elaborates on thispossibility when she says:In the highly engendered inflections of male modernist art [young Faulkner]found the means for reinscribing the boundaries between masculinity andfemininity that appeared so blurred in the modern world, and in Keats, oddlyenough, he also found the means for appropriating art from the domain of 'politepainting by gentlewomen' [Faulkner]. Indeed, Faulkner's description of hisdiscovery of Keats reveals not just his delight in a spiritually attuned precursorbut palpable relief that art - and perhaps china painting in particular - could beretrieved from the encroaching presence of the feminine. (70)It would be irresponsible to assign Faulkner a position removed from personal conflictand insecurity and Ifeel that Donaldson does a good job of summarizing Faulkner'sattraction to ekphrasis and its ramifications for both his position as author and his readersas interpreters.The second possibility is that Faulkner used metaphor so extensively in order todistance himself from both the women he crafted and the societal hand under which theysuffered. Cezanne, already established as one of Faulkner's artistic influences, straddledthe worlds between Impressionism and Post-Impressionism, and this is clearly reflectedin the pieces he produced. Similarly, Faulkner, as his parallel, also straddled two worlds -
Bullock 39one in which male dominance was the unquestioned standard and another in whichfemale marginalization was producing growing discomfort and agitation. However, themost likely reality is that Faulkner worked from within a combination of these twopossibilities. These societal and personal conflicts, evidenced in and addressed throughart, contribute to the richness of Faulkner's legacy. Faulkner, living as a Southern manwith the cultural insecurities that were foisted upon him in the same way undesiredexpectations were foisted upon his female characters, expressed his insecurities and fearsthrough his art and, through the frustration, demonstrated the urgent need for change.Faulkner depicted his society's restrictive holds on women, utilizing his characters'subsequent pain and experiences as a catalyst for consequential discussions ofreformation that anticipated the feminist movement.
Page 2 and 3: Digitized by the Internet Archivein
Page 4 and 5: Bullock 2TABLE OF CONTENTSINTRODUCT
Page 6 and 7: Bullock 4Iseek to establish my argu
Page 8 and 9: "Bullock 6wrote about the artists w
Page 10 and 11: Bullock 8As I Lay Dying and The Sou
Page 12 and 13: Bullock 10Another art metaphor Faul
Page 15 and 16: Bullock 13essence, both necessary s
Page 17 and 18: Bullock 15We had long thought of th
Page 19 and 20: Bullock 17but no longer considered
Page 21 and 22: Bullock 19Miss Emily as idol, thus
Page 23 and 24: Bullock 21The art metaphor of Miss
Page 25 and 26: Bullock 23Community and Religion in
Page 27 and 28: Bullock 25Faulkner's response allow
Page 29 and 30: Bullock 27setting. It is this preoc
Page 31 and 32: Bullock 29male-dominated system whi
Page 33 and 34: Bullock 31for Faulkner to communica
Page 35 and 36: Bullock 33skewed sexuality and misp
Page 37 and 38: Bullock 35from all walks of life, "
Page 39: Bullock 37townspeople, readers can
Page 43 and 44: The Eternal Feminine, Paul CezanneB
Page 45 and 46: Bullock 43—. AsI Lav Dying . 1930

Motionless as an Idol - Columbus State University

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