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• W2890593052 abstract "Absalom, Absalom! and the Semiotic Other I n 1957, when he was asked to explain his characterization of Thomas Sut­ pen, William Faulkner replied, What he was trying to do—when he was a boy, he had gone to the front door of a big house and somebody, a servant, said, Go around to the back door. He said, I’m going to be the one that lives in that house, I’m going to establish a dynasty, I don’t care how, and he violated all the rules of decency and honor and pity and compassion, and the fates took revenge on him. (qtd. in Gwynn and Blotner 35) Although Faulkner’s comments on his own work should be regarded with a certain level of skepticism, this one is particularly suggestive for readers of Absalom, Absalom!—but less for what it reveals than what it conceals. The “somebody,” the “servant” who bars Sutpen’s entry is, as the text emphasizes again and again, black. That Faulkner fails to recall this detail (elsewhere he omits the servant entirely and states that it is the owner of the house—the “white Virginian”—who tells Sutpen to go to the back door [qtd. in Gwynn and Blotner 272]) is consistent, in terms of representation and repression, with the narrative’s structuring of racial difference. As Toni Morrison has convinc­ ingly argued, white American literature and identity is made possible through, and founded upon, a “dark, abiding, signing, Africanist presence” (5); this is clearly evident in Absalom, Absalom!, which explores and interrogates this con­ stitution of subjectivity through racial “othering.” Specifically, blackness or Af­ ricanism is presented in the novel as a sublimated force that continually threat­ ens the stability of the white, patriarchal “design” and, as such, can be read as analogous to what Julia Kristeva has called the semiotic. From this perspective, race in Absalom, Absalom! emerges as a dramatization of the dialectic between the symbolic and the semiotic—where the latter ultimately undermines and challenges the hegemony of the former. According to Kristeva, language (and the speaking subject who is posited by language) is comprised of oppositional elements: sound and sense, rhythm and meaning, intonation and communication—the “semiotic” and the “sym­ bolic” (Revolution 13-106). The latter term is Lacan’s and, as Leon S. Roudiez explains, it “refers to the establishment of sign and syntax, paternal function, grammatical and social constraints, [and] symbolic law” (6-7); the former term, the “semiotic” or le semiotique (as opposed to la semiotique, the science 39 40 J. G. Brister Absalom, Absalom! and the Semiotic Other of signs proper), designates the repressed, pre-Oedipal instinctual drives that underlie and transgress the symbolic, linguistic order: The kinetic functional stage of the semiotic precedes the establishment of the sign; it is not, therefore cognitive in the sense ofbeing assumed by a knowing, already consti­ tuted subject. . . . The semiotic is articulated by flow and marks: facilitation, energy transfers, the cutting up of the corporeal and social continuum as well as that of sig­ nifying material, the establishment of a distinctiveness and its ordering in a pulsating ... rhythmic but nonexpressive totality. (Revolution 27,40) In her essay “From One Identity to an Other,” Kristeva elucidates her theory of the semiotic and explains its textual manifestations: [T]his heterogeneousness to signification operates through, despite, and in excess of it and produces in poetic language “musical” but also nonsense effects that destroy not only accepted beliefs and significations, but, in radical experiments, syntax it­ self. . . . The notion of heterogeneity is indispensable, for though articulate, precise, organized, and complying with constraints and rules . . . this signifying disposition is not that of meaning or signification: no sign, no predication, no signified object and therefore no operating consciousness of a transcendental ego. We shall call this disposition semiotic.... (133) For Kristeva, “poetic language” (a general term for discourse less concerned with communication than with experimentation) evidences this presubjective, presymbolic functioning. Through rhythms and nonsense, poetic language reveals the workings of the chora, of the drives, of the unconscious (Revolu­ tion 25-30). The semiotic—which is associated with the pre-(or trans-)linguistic , with the maternal space anterior to the paternal law..." @default.
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• W2890593052 date "2006-01-01" @default.
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• W2890593052 title "Absalom, Absalom! and the Semiotic Other" @default.
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