本文旨在討論威廉•福克納大蕭條時期五大小說中南方客創傷後自我療癒之主題。討論共分五大章節。
〈一〉緒論概括論述福克納大蕭條時期五大小說一再重現之創傷後自我療癒主題。以《聲音與憤怒》為引，導出福克納三零年代重要作品中時間概念之游移及身份政治之不定。
〈二〉首章探討《聲音與憤怒》中南方客因南北戰爭失利所種下之自卑情節，全章以離散意象討論康普生氏族之沒落、飄零，並將各章節中之意識流解讀為創傷後症候群。全章定位南方之核心創傷源自內戰失利後之南人自卑情節，此創傷必須以重現之法才稍得撫平。
〈三〉第二章研究《我彌留之際》中南方「白人垃圾」階層寅吃卯糧、朝不保夕之慘狀。全章以馬克斯主義觀點切入南方單一族裔結構，配合大蕭條時期最急迫之經濟議題，點出邦德潤家族由山區徙往市鎮謀生，表面為遂妻子、母親遺願，實則各懷鬼胎。本章另一主題為凸顯城鄉差距，視城市為資本主義核心，破落山區代表野有餓莩之弱勢邊陲，邦德潤家族名為送葬，實則舉家逃難。
〈四〉第三章觸及南方核心禁忌─族裔。福克納於《八月之光》中創造出一族裔身份含糊之角色，黑白難分，眾說莫衷，並令之與一北佬遺族女子衍生曖昧糾葛。整部作品不但觸及這兩位南方「他者」之創痛，更藉此點出現代南方與內戰後「重建時期」間時空交錯飄移、身份政治動盪難安之狀。證諸今日民主黨總統候選人由黑白混血之歐巴瑪與女性自主之希拉蕊•克林頓競逐，更見福氏洞燭機先。
〈五〉第四章探討福克納三零年代對南方集體歷史、心理創傷─南北戰爭─之重現。全章研究《押沙龍，押沙龍！》與《不敗者》兩部屬性、文風迥異作品。大異其趣間卻見神似處：福氏從未正面處理兩軍交鋒場面。白人父權結構之主力遠赴千里之外作戰，兵馬倥傯正好使白人父權結構勢消。《押沙龍，押沙龍！》中南方戰時撐持、戰後重建多得助於女性，《不敗者》中游擊戰鬪甚至由祖母、幼孫、小黑奴三個次要主體操盤，所對抗者卻為北軍正規部隊。兩部小說中之南方家父長在戰爭中幾乎銷聲匿跡，這正是福氏重寫南方歷史，複化其身份政治之證據。

This dissertation means to examine Faulkner’s Depression-Era fiction as a post-traumatic syndrome pervasive in the Southern psyche. I read Faulkner from a cultural triangulation of race, class, and gender in Yoknapatawpha. These triangular coordinates often close in on somewhere on the far horizon, in their relations with the Civil War and its aftermath. That is the way history insinuates herself into Faulkner’s art. Opening with a chapter on The Sound and the Fury, I contend that the novel sets an eschatological scene for my investigation of its relation with the bulk of Faulkner’s writing throughout the ’30s. The Compsons’ apocalyptic “now,” 1929, is thoroughly checked for its temporal entanglement with the Confederate memories. How Faulkner’s Great Depression contemporaneity laments over the Lost Cause gives us a topological context where the Confederate vestiges pop out at every corner.
In Chapter two, I will slash vertically into white ideology for another visage of the white South’s trauma—a class-aware orchestration of monologues in the apocalyptical “now.” Who lies dying is a self-consuming question among the Bundrens. This is where Faulkner comes closest to the socio-economic issue in the 30s. In the analysis of As I Lay Dying, I will engage with Diaspora theories of cultural displacement, along with a Marxist elucidation of “structure of feeling” to fully denote the submerged living standards of the poor whites in the Depression Era.
As for the third chapter, I will engage with the places in which the white Southern subjectivity itches—race and racism, and the dominant Yankee influence embodied by the Carpetbagger offspring Joanna Burden’s unsuccessful taming of an “interpellated” mulatto, Joe Christmas. The Diasporic depths in Faulkner’s oeuvre carries on with all the cultural and identitarian others coming into the South to challenge the white supremacist in Light in August. Joe Christmas’s wandering is not so much a victimization of racism, as he is a chameleon in identity relations inserted in a fanatical, politicized South—a praxis around which different identities cite their own traumas.
Moving from a vicarious way to retell the stories in a time of loss and upheaval, the fourth chapter touches the per se of the South’s historical trauma, the defeat in the Civil War and its aftermath. I investigate two variants in the South’s collective reproduction of this traumatic origin: Absalom, Absalom! with its gothic chronotope that runs parallel with the progressive modernity, i.e., the milieu of Quentin’s apocalypse now; The Unvanquished with a deconstructive lens to look at the southern cavalier fatherhood, namely, Bayard Sartoris’ rejection to avenge his father in its “An Odor of Verbena.” The former rejects Anderson’s “homogeneous empty time” and the latter bids farewells to the Cavalier past by an overdose of romanticism and then an abrupt reversal at the apogee of the romantic vision.
Concentrating on a self-therapeutic outlook on Faulkner and his South, I trace a symbolic economy of “working through” in which Faulkner rehearses the Southern history by multiple overexposures of its trauma. It is also a project to tie Faulkner’s own identity formation to a process of victimization in relation to these memories: his southern diasporic self in the 30s against the capitalistic centers of an intellectual New York and a commercial Hollywood. Faulkner embeds a humiliation in either vision. He is an epitome of the South’s memories of loss and its concomitant pain.

TABLE OF CONTENTS

Abstract……………………………………………………………………………..i
Introduction
Faulkner’s Depression-Era Novels:
Trauma That Defies a Rut in Identity Politics……………………………………….1
Chapter One
A Tale Full of Sound and Fury, Signifying Nothing But Trauma…………………..39
Chapter Two
As A Mississippian Hillbilly Lay Dying:
Faulkner’s Poor-White “Apocalypse Now” in the Depression Era………………...84
Chapter Three
From “Dark House” to Light in August:
Adrift Temporality and Identity in a Racist Southern Chiaroscuro………………...121
Chapter Four
Faulknerian Trauma Per Se in Absalom, Absalom! and The Unvanquished:
The Civil War/Reconstruction Memories, From Where Yoknapatawpha Emanates Her Civil Disobedience………………………………………………………………….163
Conclusion
From the Reconstruction to the Great Depression………………………….………207
Works Cited……............……………………………………………......................212

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