![]() Yunes, Paolo Fontana, Feng Zhang, Shanfeng Zhu, Ronghui You, Zihan Zhang, Suyang Dai, Shuwei Yao, Weidong Tian, Renzhi Cao, Caleb Chandler, Miguel Amezola, Devon Johnson, Jia Ming Chang, Wen Hung Liao, Yi Wei Liu, Stefano Pascarelli, Yotam Frank, Robert Hoehndorf, Maxat Kulmanov, Imane Boudellioua, Gianfranco Politano, Stefano Di Carlo, Alfredo Benso, Kai Hakala, Filip Ginter, Farrokh Mehryary, Suwisa Kaewphan, Jari Björne, Hans Moen, Martti E.E. Tosatto, Marco Carraro, Damiano Piovesan, Hafeez Ur Rehman, Qizhong Mao, Shanshan Zhang, Slobodan Vucetic, Gage S. Ritchie, Sabeur Aridhi, Seyed Ziaeddin Alborzi, Marie Dominique Devignes, Da Chen Emily Koo, Richard Bonneau, Vladimir Gligorijević, Meet Barot, Hai Fang, Stefano Toppo, Enrico Lavezzo, Marco Falda, Michele Berselli, Silvio C.E. Tress, Marco Frasca, Marco Notaro, Giuliano Grossi, Alessandro Petrini, Matteo Re, Giorgio Valentini, Marco Mesiti, Daniel B. Jones, Cen Wan, Domenico Cozzetto, Rui Fa, Mateo Torres, Alex Warwick Vesztrocy, Jose Manuel Rodriguez, Michael L. Rose, Christophe Dessimoz, Vedrana Vidulin, Saso Dzeroski, Ian Sillitoe, Sayoni Das, Jonathan Gill Lees, David T. Medlar, Elaine Zosa, Itamar Borukhov, Ilya Novikov, Angela Wilkins, Olivier Lichtarge, Po Han Chi, Wei Cheng Tseng, Michal Linial, Peter W. Romero, Alberto Paccanaro, Haixuan Yang, Tatyana Goldberg, Chenguang Zhao, Liisa Holm, Petri Törönen, Alan J. Wass, Jie Hou, Jianlin Cheng, Zheng Wang, Alfonso E. Freitas, Magdalena Antczak, Fabio Fabris, Mark N. McHardy, Alexandre Renaux, Rabie Saidi, Julian Gough, Alex A. ![]() Mofrad, Giuseppe Profiti, Castrense Savojardo, Pier Luigi Martelli, Rita Casadio, Florian Boecker, Heiko Schoof, Indika Kahanda, Natalie Thurlby, Alice C. ![]() Davidović, Neven Sumonja, Nevena Veljkovic, Ehsaneddin Asgari, Mohammad R.K. Fernández, Branislava Gemovic, Vladimir R. Freddolino, Yang Zhang Prajwal Bhat, Fran Supek, José M. Rifaioglu, Alperen Dalklran, Rengul Cetin Atalay, Chengxin Zhang, Rebecca L. Nguyen, Md Nafiz Hamid, Larry Davis, Tunca Dogan, Volkan Atalay, Ahmet S. In an interview at the University of Virginia, Faulkner suggested that Miss Emily deserved a rose for all the torment she had endured, and, whatever else they feel, most readers appear to agree with this sentiment.Naihui Zhou, Yuxiang Jiang, Timothy R. As with other troubled Faulknerian protagonists, death literally frees Miss Emily-from patriarchy, from society’s conventions, from sexual repression, from the class structure she was taught to revere, from the useless existence of privileged women of her era, even from the burdens of southern history and slavery: With her death, her black servant, mysteriously complicit in his relation to Miss Emily, walks out of her house at the end of the story. Indeed, one critic asserts that we cannot understand any of Faulkner’s heroes if we do not understand Miss Emily, for she is the “prototype” of them all (Strindberg 877). Numerous critics have suggested that behind the gothic horror of necrophilia and insanity in this classic story, Miss Emily Grierson is the oddly modern hero. If Miss Emily is crazy (and most critics agree that she is), Faulkner implies that she has been made so by the constrictions of a father who refused to let her marry and by the conventions of a society that eagerly filled the void at his death. Faulkner employs a number of clues to foreshadow both denouement and motivation, including the “tableau” of the imperious father with a horsewhip overshadowing his white-clad young daughter Emily the portrait of her father that Emily displays at his death, despite his thwarting of her natural youthful desires her defiant public appearances with the unsuitable Homer Baron her sense of entitlement and the arsenic she buys to rid her house of “rats.” Despite these and other devices, however, new generations of readers still react in horror when Emily’s secret is revealed: She not only murdered her lover but slept with his corpse in the attic bridal chamber she carefully prepared. ![]() Suspense continues to build when we learn that a mysterious odor emanated from her house at the time that Homer disappeared. Told from the perspective of Jefferson, in Yoknapatawpha County, in a narrative voice that consistently relates the details that “we”-the smug and gossipy townspeople of Jefferson-have observed, the story is intriguing on the level of plot and character alone: Miss Emily has just died, and we learn that she lived alone after her father died and Homer Baron, her Yankee lover, apparently abandoned her. ![]()
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