Hemingway, Fitzgerald and Faulkner

Wai Chee Dimock

0.0 (0)
PODCASTS

This course examines major works by Hemingway, Fitzgerald, and Faulkner, exploring their interconnections on three analytic scales: the macro history of the United States and the world; the formal and stylistic innovations of modernism; and the small details of sensory input and psychic life. Warning: Some of the lectures in this course contain graphic content and/or adult language that some users may find disturbing.

02/04/2012

11. Hemingway – To Have and Have Not, Part II

Professor Wai Chee Dimock concludes her discussion of To Have and Have Not by showing how, in the context of the Cuban Revolutions and the Great Depression, characters devolve into those who “Have” and those who “Have Not.” While protagonist Harry Morgan may look like a political and economic “Have Not” – he neither supports the revolution nor possesses enough money to extract himself from its seedier operations – his ability to bring happiness to his wife Marie makes him a social “Have” in a more profound sense. Dimock casts Harry as a “mediated Have,” someone who, through the eyes of others, might be said to be in possession of something vital, denied to others with material and political satisfactions. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.

2 sec
02/04/2012

24. Faulkner, Light in August, Part III

Professor Wai Chee Dimock focuses on the unresolved problem of race in Light in August, focusing her discussion on the variety of reflexive and calculated uses of the word “n****r” as a charged term toward Joe Christmas. She shows how the semantic burden of the word varies – used under duress by Joe Brown and the dietician, deliberately made light of by Hightower and Bobbie, fused with the contrary meanings of Calvinist theology by Joanna Burden, and finally ironized by Joe Christmas himself. Dimock uses these multiple uses of the word “nigger” to meditate on the making of racial identities and our collective input into that process. Warning: This lecture contains graphic content and/or adult language that some listeners may find disturbing. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.

3 sec
02/04/2012

22. Faulkner, Light in August

Professor Wai Chee Dimock focuses her introductory lecture on Faulkner’s Light in August on the “pagan quality” of his protagonist Lena. She argues that Faulkner uses Lena to update the classic story of the unwed mother by fusing comedy with the epic road novel. In doing so, he also updates the Greek tradition of the kindness of strangers, drawing attention to it through certain stylistic markers, including the “switchability” between the protagonist and her supporting cast, the use of gerunds as a linguistic safe haven for Lena, and the allegorical naming of Byron and Burden as social types with scripted trajectories. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.

2 sec
02/04/2012

25. Faulkner, Light in August, Part IV

Professor Wai Chee Dimock concludes her discussion of Light in August and the semester by mapping Faulkner’s theology of Calvinist predestination onto race. Using Nella Larsen’s novel Passing as an intertext, she shows how Joe Christmas’s decision to self-blacken expresses his tragic sense of being predestined, of always “coming second.” Moving away from tragedy, Dimock reads Hightower’s delivery of Lena’s baby as inhabiting a liminal space between tragedy and comedy, as Faulkner gives Hightower a second chance at meaningful communal agency. She finishes by reading Lena Grove and Byron Bunch’s courtship as the comic end of Light in August. Warning: This lecture contains graphic content and/or adult language that some listeners may find disturbing. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.

2 sec
02/04/2012

21. Fitzgerald, Tender is the Night, Part II

Professor Wai Chee Dimock concludes her discussion of Tender Is the Night with a biographical sketch of Zelda Sayre Fitzgerald’s mental instability, the inspiration for the character of Nicole Diver. Invoking the schema of “have” and “have not,” she then shows how Fitzgerald borrows techniques from film to quicken the pace of Dick Diver’s narrative of dispossession. Dimock argues that Fitzgerald uses close-up, cross-cutting, and the speeding up of negative resolutions to strip Dick of his professional identity and to render him empty-handed at the end. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.

3 sec
02/04/2012

23. Faulkner, Light in August, Part II

Professor Wai Chee Dimock continues her discussion of Light in August by showing how the kindness of strangers turns into malice in the cases of social reformer Joanna Burden and Reverend Hightower. Whereas that malice assumes comedic tones in the depiction of Joanna’s death, it has more complex valences in the case of Reverend Hightower, who is both ethically delicate towards his neighbors and insensitive to his adulterous wife. Professor Dimock concludes by observing the kinship between the dual narratives of Lena Grove and Joe Christmas as, respectively, the undramatic and dramatic strands of the novel. Drawing on her reading from last lecture, she shows how both Joe and Lena’s consciousness is marked by the gerund form and a passivity of agency that makes them receptacles for the dramatic actions of others. Warning: This lecture contains graphic content and/or adult language that some listeners may find disturbing. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.

2 sec
02/04/2012

19. Hemingway – For Whom the Bell Tolls, Part IV

Professor Wai Chee Dimock concludes her discussion of For Whom the Bell Tolls by reading the novel as a narrative of dispossession and repossession. She argues that the rape of Maria, which takes place in front of a barbershop mirror, enacts one type of disempowerment; the end of Robert Jordan’s life represents another, but with the potential for redemption. She shows how Jordan vacillates between a “have” and a “have not,” depending on how ironically one understands Maria’s question “What hast thou?” Warning: This lecture contains graphic content and/or adult language that some listeners may find disturbing. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.

2 sec
02/04/2012

20. Fitzgerald - Tender Is the Night

Professor Wai Chee Dimock positions her reading of Tender Is the Night alongside F. Scott Fitzgerald’s career as a Hollywood screenwriter. She shows how the novel borrows narrative techniques from film, particularly flashback, “switchability” on a macro and micro scale, and montage. Invoking the theories of Sergei Eisenstein, she reads scenes of wartime death and individual murder to show how love and war are cross-mapped, superimposed onto one another as part of the narrative fabric of Tender Is the Night. Complete course materials are available at the Open Yale Courses website: http://oyc.yale.edu This course was recorded in Fall 2011.

2 sec

See All (25)

This course examines major works by Hemingway, Fitzgerald, and Faulkner, exploring their interconnections on three analytic scales: the macro history of the United States and the world; the formal and stylistic innovations of modernism; and the small details of sensory input and psychic life. Warning: Some of the lectures in this course contain graphic content and/or adult language that some users may find disturbing.