• Making the "New Death" New:A Fable and Faulkner's Revisit to World War I
• Atsushi Marutani

Several critics have argued that the impact of World War I gave rise to the American modernist writing of the 1920s and '30s. Not only did the number of dead soldiers and the grotesque physical damages on human bodies change the minds of those who directly experienced what Pearl James, borrowing from Winifred Kirkland, has called the "New Death," but the war also influenced the way people mourn for the dead at home (James 1–10). In particular, David A. Davis illuminates the war's impact on southern modernism by introducing the terms "proximal modernism" and "distal modernism" (6). While highly experimental works of modernism embrace the newness associated with modernization, the US South represents the peripheral and ambivalent response to the immediate circumstances of modernity from a distance (6–8), and the First World War made southerners experience the disruptive effects of modernity before the region became modernized (10–11). With Faulkner as the most obvious exception, southern writers of the period were less experimental than their contemporary artists, reflecting social and cultural disparities between the South and other regions. on one hand, Faulkner, who did not actually fight in the war, portrays the invisibility of the dead and the wounds brought home from the distant war in Sartoris (1929), representing a quintessentially modernist experience of loss (James 164–67), but on the other, the "distal modernism" can also be observed in Soldiers' Pay (1926) (Davis 179). Even The Sound and the Fury (1929) shows that Faulkner suffered from a "mobilization wound," a humiliating experience of being rejected by the US Army and therefore feeling "emasculated" by the war (Gandal 5; 151–66; 199–211). [End Page 71]

While the war's influence on Faulkner and its representations in his works are somewhat remote from the battlefield, he remains unique because of his sustained interest in and idiosyncratic treatment of World War I. He revisited the war fifteen years after it ended when he came across the idea of using a christian fable to write about war in 1943.¹ That idea became A Fable (1954), in which Faulkner reversely brings the "distal" ethos of the South to the "proximal" battlefield. Placed in the middle of the war novel, an episode set in the South tells a story about a crippled racehorse and a band of horse thieves, members of which were killed in the war.

The representation of the New Death in this "distal" southernness embedded in A Fable, I argue, should be understood in the context of the distinction that Fredric Jameson has made between "high modernism" and "late modernism" (165). In contrast to classical modernists such as Pound and Eliot, who envisioned a restoration of culture holding to the Absolute and Utopianism (168), late modernism is "a product of the cold War" (165) that insisted on aesthetic autonomy more radically than high modernism. For late modernists, "high literature and high art mean the aesthetic minus culture, the aesthetic field radically cleansed and purified of culture (which mainly stands for mass culture)" (179). Late modernism is such "a belated construct" (164), a form of modernism ideologized under cold War politics. While A Fable was appraised by late modernist critics, Faulkner seems to stick to the high modernist vision of culture in the novel, intending to make it have "a genuine function to redeem and transfigure a fallen society" (178).² The "southern" undercurrent permeates A Fable as a whole, molding it into a high modernist reflection upon the war. In "A Note on A Fable," Faulkner writes that the novel is "not a pacifist book," that on the contrary he "holds almost as short a brief for pacifism as for war itself, for the reason that pacifism does not work, cannot cope with the forces [End Page 72] which produce the wars." These "forces" are not actual firearms but rather "man's aptitude for belligerence and his thirst for power," against which "man must either find or invent something more powerful" to end war. Faulkner says that he intended to show this "by poetic analogy, allegory" (162...

• 新的“新死亡”：寓言和福克纳重访第一次世界大战
• 丸谷笃

小号everal评论家认为，影响W¯¯年世界W¯¯ AR我提出了1920年代和30年代的美国现代主义著作。死去的士兵人数和对人体的奇异身体伤害不仅改变了那些直接经历了从温妮弗雷德·柯克兰（Winifred Kirkland）借来的珍珠詹姆斯所说的“新死亡”的人们的思想，而且战争也影响了人们的哀悼方式。为死者在家（詹姆斯1-10）。戴维斯·戴维斯（David A. Davis）特别介绍了战争对南方现代主义的影响，其中引入了“近代现代主义”和“远距现​​代主义”（6）。尽管高度实验性的现代主义作品包含了与现代化相关的新颖性，但美国南方代表着远距离（6-8）对现代性当前环境的边缘性和矛盾性反应，第一次世界大战使南方人在该地区实现现代化之前经历了现代性的破坏性影响（10-11）。以福克纳为最明显的例外，那个时期的南方作家比当代艺术家没有实验性，这反映出南方与其他地区之间的社会和文化差异。一方面，福克纳（Faulkner）并未真正参加战争，他描绘了死者的隐形性以及从遥远的战争带回家的伤口Sartoris（1929）代表了典型的现代主义的损失经历（James 164–67），但另一方面，“远距现代主义”也可以在士兵的薪水（1926）（戴维斯179）中观察到。甚至《喧Sound与骚动》（1929年）也表明福克纳遭受了“动员伤”，这是一种被美军拒绝并因此被战争““割”的耻辱经历（甘达勒5； 151-66； 199-211） ）。[完第71页]

尽管战争对福克纳及其作品的影响距离战场有些遥远，但由于他对第一次世界大战的持续兴趣和特质治疗，他仍然是独一无二的。战争结束十五年后，当他遇到了第一次世界大战时，他重新审视了这场战争。 1943年使用基督教寓言写战争的想法^。1这个想法成为《寓言》（1954年），其中福克纳将南方的“遥远”精神带到了“近端”战场。放置在战争小说的中间，在南方的一集讲述了一个残缺的赛马和一群盗贼的故事，这些盗贼的成员在战争中丧生。

我认为，应该以弗雷德里克·詹姆森（Fredric Jameson）在“高级现代主义”和“晚期现代主义”之间做出的区分为背景来理解《新寓言》在《寓言》中这种“遥远”的南方性中的表现（165）。与庞德和艾略特等古典现代主义者所设想的恢复绝对和乌托邦主义（168）的文化相反，晚期现代主义是“冷战的产物”（165），其坚持审美自主性而不是高度自主性。现代主义。对于晚期的现代主义者来说，“高文学和高艺术意味着审美减去文化，从根本上清洗和净化了文化（主要代表大众文化）的审美领域”（179）。晚期现代主义就是这样的“迟来的构造”（164），冷战政治下意识形态化的一种现代主义形式。尽管寓言受到晚期现代主义评论家的评价，福克纳似乎坚持了小说中文化的高度现代主义眼光，旨在使其具有“救赎和改变堕落社会的真正功能”（178）。² “南方”暗流贯穿了整个寓言，使之成为对战争的高度现代主义反思。福克纳在《寓言笔记》中写道，这本小说不是“和平主义者的书”，相反，他“和平主义的简述几乎与战争本身一样简短，因为和平主义行不通，无法应付部队[结束页72] 这些“力量”不是实际的枪支，而是“人的交战能力和对权力的渴望”，而“人必须找到或发明更强大的东西来结束战争。”福克纳说，他的意图是以“通过诗意的比喻，寓言”来展示这一点（162 ...