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The Signifying Eye: Seeing Faulkner’s Art by Candace Waid (review)

The Signifying Eye: Seeing Faulkner’s Art by Candace Waid (review) Boyd offers a compelling treatment of the Odyssey as a primary intertext for television's Mad Men and especially the character of Don Draper, a survivor of the Korean War whose family and military history makes him a dissembler adept at interweaving episodes from his own life into advertising projects that seek to persuade and whose own traumas drive the Circe and Calypso-styled episodes of the series. Part IV moves toward the Odyssey and postmodernism beginning with Alex Purves's treatment of how the bed we sleep in relates to homecoming. Focusing on Sebald's The Emigrants, she demonstrates how the men in the novel's four narratives express exile and alienation through the act of lying down, but the attempt to integrate Laertes and Penelope's relationship to beds within this framework, while provocative, is less satisfying. Efrossini Spentzou's treatment of modernist revisions of home in Seferis and Ritsos is strong, evincing as it does key differences between the High Modernism of the former, whose travellers journey in abstract and melancholy landscapes without commitment or telos, and the "mature Greek Modernism" of the latter, which is rooted in domesticity, the local, and the female. Zina Giannopoulou takes us on a trip through http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

The Signifying Eye: Seeing Faulkner’s Art by Candace Waid (review)

The Comparatist , Volume 39 (1) – Nov 20, 2015

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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887
Publisher site
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Abstract

Boyd offers a compelling treatment of the Odyssey as a primary intertext for television's Mad Men and especially the character of Don Draper, a survivor of the Korean War whose family and military history makes him a dissembler adept at interweaving episodes from his own life into advertising projects that seek to persuade and whose own traumas drive the Circe and Calypso-styled episodes of the series. Part IV moves toward the Odyssey and postmodernism beginning with Alex Purves's treatment of how the bed we sleep in relates to homecoming. Focusing on Sebald's The Emigrants, she demonstrates how the men in the novel's four narratives express exile and alienation through the act of lying down, but the attempt to integrate Laertes and Penelope's relationship to beds within this framework, while provocative, is less satisfying. Efrossini Spentzou's treatment of modernist revisions of home in Seferis and Ritsos is strong, evincing as it does key differences between the High Modernism of the former, whose travellers journey in abstract and melancholy landscapes without commitment or telos, and the "mature Greek Modernism" of the latter, which is rooted in domesticity, the local, and the female. Zina Giannopoulou takes us on a trip through

Journal

The ComparatistUniversity of North Carolina Press

Published: Nov 20, 2015

There are no references for this article.