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From the towering trees to the largest river in North America. From the historic buildings to the copper dome that perches above the city.

From the rolling hills to the people waving hello. Schedule a private campus tour or visit our virtual campus visit experience to see for yourself from the comfort of your home!

At Southeast, we know the value of a college education. And, we think everyone should be able to afford that value.

We want to be a smart investment , so you launch an extraordinary career and can excel on day one. It will be made by those with the courage to question.

The hunger to know. And the will to do. Southeast Missouri State University has announced its summer graduates. A listing of graduates is available here.

New this year, the LSL is part of a suite of Transformation Labs offered by ACE to guide colleges and universities through a structured strategic planning process to advance critical institutional priorities.

A leadership team [ Fall Visit Day and Virtual Explorations are an opportunity for individuals interested in Southeast to visit the campus and see the wide variety of academic programs and services Southeast offers.

Armed Forces. Southeast Missouri State University announces rescheduled, in-person dates for fall commencement ceremonies to honor spring, summer and fall graduates.

The following conversation depicts how men in the club view all women in the same way whether they are on stage stripping or not:. The different forms of exchanging money for women remind us that Fay is no less objectified outside the strip club than within it; throughout the novel men diminish her to an object of sexual gratification, illustrating both that strip clubs and prostitution exist as extensions of more everyday and accepted power inequalities between men and women, and that the view of women as commodities that can be bought, sold, and traded pervades all of society even if less explicitly outside of strip clubs.

Not yet. Aaron, can I have some money to buy me something to drink? He remembered the good clothes she used to have and how she looked in them, how men turned their heads and watched her.

Nobody would give her a second glance now. The reference to the turning of heads echoes the images of Fay turning heads throughout the novel highlighting that Reena was once like Fay and that by the same token Fay will end up like Reena.

His ruminations on Wanda make this same point again even more starkly:. She still had her figure and she knew about men. This passage frankly admits that women are not only commodities but ones that exist in abundance and that can be obtained easily and cheaply.

While Temple rebels against and inverts cultural constructs of gender and her body in order to experience erotic enjoyment and assert some degree of power however limited and bizarre, from the beginning of the novel Fay struggles to expend and control the exchange of her body to survive materially.

At some point I always ask students to consider the endings of the two novels. While Temple, unlike Fay, frees herself temporarily from patriarchal paradigms of the female body, importantly the conclusions of the two stories reveal more similarity than difference.

One evening at the end of summer, just before the gas lamps came on, a girl walked on the streets of the Old Square in New Orleans and drew the looks of men as she passed.

They would stop and look at her and walk some more and stop and look back again. On a cobbled avenue she saw the marquee in lights and when she got closer she looked at the women on the posters with brighter bulbs around their frames and they were wrapped in feather boas and sparkling sequins.

In front of the door there was a man in a striped coat and a flat-brimmed straw hat. He had a silver-tipped cane and he was hailing walkers to stop and in and see the girls.

To this one he tipped his hat, called her by name. She handed him her empty cup, and then she went in. Temple yawned behind her hand, then she took out a compact and opened it upon a face in miniature sullen and discontented and sad.

Beside her her father sat, his hands crossed on the head of his stick, the rigid bar of his moustache beaded with moisture like frosted silver.

She closed the compact and from beneath her smart new hat she seemed to follow with her eyes the waves of music, to dissolve into the dying brasses, across the pool and the opposite semicircle of trees where at somber intervals the dead tranquil queens in stained marble mused, and on into the sky lying prone and vanquished in the embrace of the season of rain and death.

As her name suggests, she exists as a shrine to southern womanhood which equates southern women with white purity, obfuscating, as Deborah E. Retrieved from the Memphis underworld and returned to her father and the authority he represents, Temple finds herself back in a sexual wasteland that recalls both T.

Alfred Prufrock and the dried up discarded girlfriends of Aaron in Fay. While students may not have read Requiem for a Nun , it is worth pointing out to them that in this sequel to Sanctuary , Temple has married Gowan Stevens and Faulkner continues to depict Temple as imprisoned and unhappy.

Temple tells her story of spending six weeks in a Memphis brothel and falling in love with Red, a man who is killed climbing up a drain pipe to visit her.

Not to mention a new automobile and a honeymoon in a rented hideaway built for his European mistress by a Mohammedan Prince.

Faulkner refers here to all the American materialist middle-class trappings that obscure the racial and class injustices beneath and that alienate individuals from themselves and each other.

She accepts an institutionalized fiction of morality, and sacrifices herself in an attempt to protect the bourgeoisie capitalist investment in the family.

Nancy mistakenly assumes that Temple wants salvation and that her marriage is worth saving. Because I work to direct class discussion rather than dominate it, each class will come to somewhat different conclusions.

However, students typically acknowledge that both Temple and Fay find themselves ultimately trapped by patriarchal accounts of their bodies even as these accounts differ because of the conditions and characterizations of social class.

Faulkner, William. William Faulkner: Novels New York: Library. Requiem for a Nun. New York: Library of. Southeast Missouri State University.

Center for Faulkner Studies. Contact cfs semo. The difference, however, is that in the underworld of bootleggers and prostitutes, Temple manages to carve out a space, however disturbing and frightening, in which she can enjoy a degree of escape and excitement, a space that contrasts vividly with the monotony and futility of her upper-middle-class life captured in her perception of going to a football game in Starkville: She said nothing, thinking of the pennant-draped train already in Starkville; of the colorful stands; the band, the yawning glitter of the bass horn; the green diamond dotted with players, crouching, uttering short, yelping cries like marsh fowl disturbed by an alligator, not certain of where the danger is, motionless, poised, encouraging one another with short meaningless cries, plaintive, wary, forlorn.

She continues: After the war, when a southern gentleman paid chivalrous homage to a woman, he was no longer addressing just an ideal homemaker but the chief character of the plantation myth and the sanctuary [my emphasis] of values.

She finds a room where: She leaned against the table on her braced arms, watching the door, until Red entered. Works Cited Barker, Deborah E.

Brown, Larry. New York: Simon and Schuster, New York: Library of America,

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See the latest updates and information regarding the COVID pandemic, including a list of University contact information at semo. Southeast also expanded the institutional scholarships now available without a test score and increased the value of academic scholarships that students can obtain as test optional.

Carlos Vargas. Countless faculty, staff, and students are working on guidance and processes to create a healthy and safe campus.

Visit semo. From the towering trees to the largest river in North America. From the historic buildings to the copper dome that perches above the city.

From the rolling hills to the people waving hello. Schedule a private campus tour or visit our virtual campus visit experience to see for yourself from the comfort of your home!

At Southeast, we know the value of a college education. And, we think everyone should be able to afford that value. We want to be a smart investment , so you launch an extraordinary career and can excel on day one.

It will be made by those with the courage to question. The hunger to know. And the will to do. Southeast Missouri State University has announced its summer graduates.

A listing of graduates is available here. She whirled and ran out the door. She ran right off the porch, into the weeds, and sped on.

She ran to the road and down it fifty yards in the darkness, then without a break she whirled and ran back to the house and sprang onto the porch.

The genre of the horror movie emerged at the same time that Faulkner wrote Sanctuary and was reborn at the time Faulkner published the novel. The genre both dramatized society confronting its deepest fears and challenged established perceptions.

Critics have specifically linked the genre to the theme of female sexuality, reading Dracula, for example, brought to the stage in , the same year that Sanctuary was published, as flouting sexual and gender norms and reflecting fears of the female sex in a Victorian era of repressed sexuality.

She continues:. After the war, when a southern gentleman paid chivalrous homage to a woman, he was no longer addressing just an ideal homemaker but the chief character of the plantation myth and the sanctuary [my emphasis] of values.

Thus, in the years of Reconstruction, southerners were united by a desire to preserve white male superiority, to defend the symbol of that superiority, white woman, to keep blacks in their place in the hierarchy, and to punish those who violated the taboos.

Temple, and the darkness that shrouds her, points to both her hidden unconscious sexual desires as well as in Deborah E. She finds a room where:.

He came toward her. She did not move. She began to say Ah-ah-ah-ah in an expiring voice, her body arching slowly backward as though faced by an exquisite torture.

When he touched her she sprang like a bow, hurling herself upon him,. You know how you do when you are scared.

Curiously, some students at least will portray Fay as a character that men prey upon but at the same time argue that prostitution in general does not victimize women but rather provides an independent life to lower class women without many choices.

Interestingly, Fay starts to become more cryptic than initially thought, and students begin to identify how class position impacts the bodies and actions of both Temple and Fay equally but differently.

Fay has no male guardians shielding her virtue and chastity, but, quite on the contrary, men treat her as a sexual object, and Fay soon comes to view herself as someone who can get along by selling her body.

Many passages bring to light how Fay constantly reduces herself to her body by exchanging sex for either money or refuge.

She allows men to continuously objectify her and use her for the purpose of sexual pleasure. When she meets Sam Harris, a Highway Trooper, she is seventeen and he is more than twenty years her senior.

When she has to leave Harris because she unintentionally shoots another woman he has been sleeping with, she once again shuffles from man to man.

Later in the novel, Fay has a relationship with Aaron, a bouncer at a strip club. While Fay at this point in the novel resolves not to strip for money, Brown blurs the lines between the strip club in which money is explicitly and visibly exchanged for sex, and the world outside where women less explicitly exchange sex for material gain and security.

He probably had. The following conversation depicts how men in the club view all women in the same way whether they are on stage stripping or not:.

The different forms of exchanging money for women remind us that Fay is no less objectified outside the strip club than within it; throughout the novel men diminish her to an object of sexual gratification, illustrating both that strip clubs and prostitution exist as extensions of more everyday and accepted power inequalities between men and women, and that the view of women as commodities that can be bought, sold, and traded pervades all of society even if less explicitly outside of strip clubs.

Not yet. Aaron, can I have some money to buy me something to drink? He remembered the good clothes she used to have and how she looked in them, how men turned their heads and watched her.

Nobody would give her a second glance now. The reference to the turning of heads echoes the images of Fay turning heads throughout the novel highlighting that Reena was once like Fay and that by the same token Fay will end up like Reena.

His ruminations on Wanda make this same point again even more starkly:. She still had her figure and she knew about men. This passage frankly admits that women are not only commodities but ones that exist in abundance and that can be obtained easily and cheaply.

While Temple rebels against and inverts cultural constructs of gender and her body in order to experience erotic enjoyment and assert some degree of power however limited and bizarre, from the beginning of the novel Fay struggles to expend and control the exchange of her body to survive materially.

At some point I always ask students to consider the endings of the two novels. While Temple, unlike Fay, frees herself temporarily from patriarchal paradigms of the female body, importantly the conclusions of the two stories reveal more similarity than difference.

One evening at the end of summer, just before the gas lamps came on, a girl walked on the streets of the Old Square in New Orleans and drew the looks of men as she passed.

They would stop and look at her and walk some more and stop and look back again. On a cobbled avenue she saw the marquee in lights and when she got closer she looked at the women on the posters with brighter bulbs around their frames and they were wrapped in feather boas and sparkling sequins.

In front of the door there was a man in a striped coat and a flat-brimmed straw hat. He had a silver-tipped cane and he was hailing walkers to stop and in and see the girls.

To this one he tipped his hat, called her by name. She handed him her empty cup, and then she went in. Temple yawned behind her hand, then she took out a compact and opened it upon a face in miniature sullen and discontented and sad.

Beside her her father sat, his hands crossed on the head of his stick, the rigid bar of his moustache beaded with moisture like frosted silver.

She closed the compact and from beneath her smart new hat she seemed to follow with her eyes the waves of music, to dissolve into the dying brasses, across the pool and the opposite semicircle of trees where at somber intervals the dead tranquil queens in stained marble mused, and on into the sky lying prone and vanquished in the embrace of the season of rain and death.

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