Here is the synopsis of our sample research paper on Narrative Points of View in William Faulkner’s “The Sound and the Fury” and “As I Lay Dying”. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 4 page paper which compares and contrasts how Faulkner uses point of view to shape not only characterizations but also the novel as a whole. Bibliography lists 5 sources.
Page Count:
4 pages (~225 words per page)
File: TG15_TGsfdying.rtf
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Unformatted sample text from the term paper:
in Southern folklore. Faulkner was an experimental writer who wrote for the sheer pleasure of the craft, but he also remained endlessly enamored of the tradition-bound Southern past.
Collectively, his novels represent an attempt to exorcise the ghost of the Civil War from the Civil War consciousness, which was largely responsible for contemporary family dysfunction and wistful memories
of what might have been. In The Sound and the Fury and As I Lay Dying, Faulkner pioneered a technique that became popular in the 1920s known as a
stream-of-consciousness style that interweaves characters personal subjective observations with the objective action that is taking place. The narrative points of view established in these novels are not limited to
third-person observers, but are often developed by those characters deeply involved in the plot, and typically are internal monologues that are not merely "a sequence of bizarre incidents happening to
a single hero, but a sequence of bizarre heroes happening to a single incident" (Kartiganer 4). The Sound and the Fury (1928) chronicles the decline of the Compsons, a once-esteemed
Jefferson, Mississippi family. Faulkner uses them to illustrate how the Southern aristocracy had, through a chain of unfortunate events, orchestrated their own precipitous fall from grace. The narrative
is composed primarily of internal monologues and is subdivided into sections that reveal four very different points of view. The first section, entitled "April Seventh, 1928," and features the
point of view of youngest Compson son, Benjy, who is a 33-year-old idiot, and contains frequent flashbacks that he has difficulty understanding, some of which dont even directly involve him
(Swiggart 64). There is a distinct detachment in Benjys narrative that often contrasts "layers of time" because time is a foreign concept to the young man (Swiggart 64).
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