『소리와 분노』에서 여성적인“흘러넘침”에 관하여
(S)he—Ex-centric Overflowing in William Faulkner’s The Sound and the Fury
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Although Robert Penn Warren articulates, “The Sound and the Fury, which is Faulkner’s Waste Land, ends with Easter and the promise of resurrection,” ironically, Faulkner does not provide any practical solution for resurrection at the end of the novel. Instead, he depicts successively and successfully how male characters fail to traverse their phallic fantasy of “Eden”—which signifies their inability to free themselves from “the blind self-centeredness”—and thus fail to resurrect themselves, and how the four consecutive male narrators (including the author himself) fail to get the story “right.” In the novel, female characters ex-orbitantly ex-sist as the object-cause of such phallic failures engendering creative disruptions in the male narratives by their feminine elusiveness and excessiveness and thus enabling the reader’s re-reading of the novel with “a dis-ease with interpretive closure.”The aim of this article is to examine how the female characters’ feminine and fluid ex-sistence goes beyond all the phallic desire and failures, and thus can be linked to what I call “Delta,” the (Lacanian) feminine empty center, as the locus of ek-stasis and, at the same time, of an opening force“ that sets the syllable “ex” in motion and keeps it alive.” Figuratively, if the female characters occupy the feminine delta spaces of the novel, this article investigates how they suggest a way out from the male Compsons’ overwhelming self-centeredness and thus lead us to a new set of possibilities “out” of the male Compsons’ failures, with regard to Easter.
Abstract
Although Robert Penn Warren articulates, “The Sound and the Fury, which is Faulkner’s Waste Land, ends with Easter and the promise of resurrection,” ironically, Faulkner does not provide any practical solution for resurrection at the end of the novel. Instead, he depicts successively and successfully how male characters fail to traverse their phallic fantasy of “Eden”—which signifies their inability to free themselves from “the blind self-centeredness”—and thus fail to resurrect themselves, and how the four consecutive male narrators (including the author himself) fail to get the story “right.” In the novel, female characters ex-orbitantly ex-sist as the object-cause of such phallic failures engendering creative disruptions in the male narratives by their feminine elusiveness and excessiveness and thus enabling the reader’s re-reading of the novel with “a dis-ease with interpretive closure.”The aim of this article is to examine how the female characters’ feminine and fluid ex-sistence goes beyond all the phallic desire and failures, and thus can be linked to what I call “Delta,” the (Lacanian) feminine empty center, as the locus of ek-stasis and, at the same time, of an opening force“ that sets the syllable “ex” in motion and keeps it alive.” Figuratively, if the female characters occupy the feminine delta spaces of the novel, this article investigates how they suggest a way out from the male Compsons’ overwhelming self-centeredness and thus lead us to a new set of possibilities “out” of the male Compsons’ failures, with regard to Easter.
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