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The traditional versus the modern
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The Southern Dialect as Seen in the Works of William Faulkner
In the writings of William Faulkner, the reader may sense that the author has created an entire world, which directly reflects his own personal experience. Faulkner writes about the area in and around Mississippi, where he is from, during the post-Civil War period. It is most frequently Northern Mississippi that Faulkner uses for his literary territory, changing Oxford to “Jefferson” and Lafayette County to “Yoknapatawpha County,” because it is here that he lived most of his life and wrote of the people he knew.
Faulkner’s stories focus on the Southeastern United States at a time period when old traditions began to clash with new ideals. This is an era in American history with which most people can quickly identify, whether they are Southern or not. The South in Faulkner’s works are complete with all the expected features: an agricultural society, Southern belles and gentlemen, racial tensions, and especially the common characteristics of Southern speech. Faulkner strays from the normal customs of Northern literature to present a realistic portrait of the South that he grew up in. In doing so, he comes up with an excellent sample of the Southern language, including linguistic qualities of both black and white speech. Faulkner establishes a unique literary voice which is recognizable due to variances from standard English in vocabulary, pronunciation, and grammatical form, while juxtaposing speech elements foreign to anyone not familiar with Southern heritage.
The works of William Faulkner succeed in creating a literary dialect which is relatively consistent throughout all of his stories. A literary dialect is best defined as an “author’s attempt to represent in w...
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...n, 1971. 145-177.
7) Lockyer, Judith. Ordered By Words: Language and Narration in the Novels of William Faulkner. Southern Illinois University Press, 1991.
8) McDavid, Raven I., Jr. “Dialectology: Where Linguistics Meets the People.” The Emory University Quarterly XXIII (Winter, 1967), 219.
9) McDavid, Raven I., Jr. “Go Slow in Ethnic Attribution: Geographic Mobility and Dialect Prejudices.” Varieties of Present-Day English. Ed. Richard W. Bailey and Jay L. Robinson. New York: Macmillan Company, 1973. 258-270.
10)McDavid, Raven I., Jr., and Virginia McDavid. “Kentucky Verb Forms.” Montgomery and Bailey, 1986. 264-293. Smith, Alphonso. Cambridge History of American Literature. New York: Macmillan Company, 1951.
11)Stewart, William A. “Observations on the Problem of Defining Negro Dialect.” The Florida FL Reporter IX, Nos. 1 and 2 (Spring/Fall, 1971), 47-57.
Wright, Katy M. “The Role of Dialect Representation in Speaking from the Margins: “The Lesson” of Toni Cade Bambara.” Style. 42.1 (2008): 73-87. Proquest. SEMO Kent Lib., Cape Girardeau, MO. 12 April 2009. .
William Faulkner is widely considered to be one of the great American authors of the twentieth century. Although his greatest works are identified with a particular region and time (Mississippi in the late nineteenth and early twentieth centuries), the themes he explores are universal. He was also an extremely accomplished writer in a technical sense. Novels such as The Sound and the Fury and Absalom, Absalom! Feature bold experimentation with shifts in time and narrative. Several of his short stories are favorites of anthologists, including "A Rose for Emily." This strange story of love, obsession, and death is a favorite among both readers and critics. The narrator, speaking for the town of Jefferson in Faulkner 's fictional Yoknapatawpha
Recent studies have been conducted to bring AAVE in schools which will result in higher test scores, however people are disagreeing with the idea because they don't want their children to learn “slags”, but AAVE is not a slang, just like standard English. “African American vernacular English, also known as “black speech” was created in 1973 by a group of black scholars who dislike the negative connotation of terms like “ nonstandard negro english” that has been cast in the late 1960s when the first modern large scale linguistic studies of African American speech communities begin”(John R. Rickford,2000). For many years, linguistics have treated AAVE as slang because they didn't want to give African American slaves the right to their own language. This all changed December 1996 when the “Oakland school board recognized AAVE as the primary language of its African American students, and took it into consideration to teach them standard English”(Monaghan 1997).
Faulkner, William. “A Rose for Emily.” The Norton Field Guide to Writing with Readings. 2nd
In this book a number of dialects are used, to wit: the Missouri negro dialect; the extremest form of the backwoods Southwestern dialect; the ordinary “Pike County” dialect; and four modified varieties of this last. The shadings have not been done in a haphazard fashion, or by guesswork; but painstakingly, and with the trustworthy guidance and support of personal familiarity with these several forms of speech. I make this explanation for the reason that without it many readers would suppose that all these characters were trying to talk alike and not succeeding. (Twain 2)
Flannery O’ Connor is known for her great short stories, “A Good Man is Hard to Find”, “Wise Blood”, “The Violent Bear It Away”, and “Everything That Rises Must Converge.” As a young reader, I often analyze every aspect of an author’s work in an attempt to figure out their influences and inspirations. In this paper, I will be unraveling the underlying factors that possibly played a part in O’Connor’s writing. Could her upbringing be the reason she wrote using southern dialect? Her religion majorly showed throughout all of her writings, so could that have been one of her main influence...
The South has always been known for its farming economy, confederate tendencies, family pride, and delicate females in ruffled dresses. In the book To Kill A Mockingbird, by Harper Lee, the South's familiar traditions become ostensible as a theme throughout the plot. This novel takes place in Alabama in the 1930s and tells a story about a lawyer who defends a wrongly accused black man while trying to raise his two children, Scout and Jem, as they go through life's most active learning stage. Southern ways enhance the plot of the story and give a realistic and historic perspective to the book. This portrayal of Southern culture appears in various forms of racism, hatred, meek women, and family.
Growing up in the South, Faulkner gives a good perspective on what it was like for
In this book, and others of this series, it was commonplace to find sentences that stretched on for a page in order to create mood, multiple narrators, or short stories complicated with a stream-of-consciousness blather that was hard to understand. Therefore, readers had difficulty following these novels, and Faulkner’s popularity soon dwindled, that is until Malcolm Cowley wrote The Portable Faulkner, which contained excerpts from the Yoknapatawpha series, and made Faulkner’s genius evident to his readers. Shortly thereafter, many of Faulkner’s works were reissued and he became a literary giant, and was even awarded the Nobel Prize for Literature in 1949. Until death, Faulkner continued to create works of literature, including both short stories and novels.
The South is tradition, in every aspect of the word: family, profession, and lifestyle. The staple to each tradition in the south, and ultimately masculinity, is to be a southern gentleman. William Faulkner, a man with the most southern of blood running through his veins, was everything but a southern gentleman.
Brooks, Cleanth. "William Faulkner: Visions of Good and Evil." Faulkner, New Perspectives. Ed. Richard H. Brodhead. Englewood Cliffs, New Jersey : Prentice-Hall, 1983.
Black Dialect is used in many stories throughout American history. This dialect represents a time period of freedom. The representation of dialect writing was a “chain” it linked African American’s to a conventional past that was contrived by others (Nicholls 277). The dialectal writings show no concern for racism. The American language is intended to absorb the racial and ethnical differences (Nicholls 279). Its intent is sought for the reader’s attention not only by the storyline itself but by the dialect it uses to draw out the reader’s imagination in the story.
Faulkner's style may give you trouble at first because of (1) his use of long, convoluted, and sometimes ungrammatical sentences, such as the one just quoted; (2) his repetitiveness (for example, the word "bleak" in the sentence just quoted); and (3) his use of oxymorons, that is, combinations of contradictory or incongruous words (for example, "frictionsmooth," "slow and ponderous gallop," "cheerful, testy voice"). People who dislike Faulkner see this style as careless. Yet Faulkner rewrote and revised Light in August many times to get the final book exactly the way he wanted it. His style is a product of thoughtful deliberation, not of haste. Editors sometimes misunderstood Faulkner's intentions and made what they thought were minor changes. Recently scholars have prepared an edition of Light in August that restores the author's original text as exactly as possible. This Book Note is based on that Library of America edition (1985), edited by Noel Polk and Joseph Blotner.
Clark, Virginia P., Paul A. Eschholz, and Alfred F. Rosa. Language: Introductory Readings. 7th ed. Boston: Bedford/St. Martins, 2008. Print.
Hepworth, M. D. (2012), Tutorial Notes, '69214339 TMA01', Unpublished Work. Leith, D. and Seargeant, P. (2012), 'A Colonial Language', in Seargeant, P. and Swann, J. ed. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a History, Diversity, Change (U214, English in the World), Milton Keynes, The Open University, pp. 113-117. 101.